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[
"P.O.D.",
"When Angels & Serpents Dance (2007-2009)"
] |
C_90f470d2620e491f9950476e828090d1_1
|
Did anyone ever leave the band?
| 1 |
Did anyone ever leave the band P.O.D.?
|
P.O.D.
|
In a statement made by the band's manager on their MySpace page, it was officially announced, on December 30, 2006, that Jason Truby had left the band. They had said "God worked it out because Truby decided to leave the band the same day Curiel asked to rejoin." Curiel performed with the band for the first time since his departure on the 2006 New Year's Eve episode of Jimmy Kimmel Live!. On February 2, 2007 the band made a new record deal with INO Records. On June 1, 2007, at the Rockbox in San Diego, the band performed and revealed a new song entitled "Condescending", along with another new song performed on June 16, 2007, at the Journeys Backyard BBQ tour entitled "Addicted". They also revealed the title of their new album to be When Angels & Serpents Dance. On August 4, 2007, the band played at Angel Stadium of Anaheim's annual Harvest Crusade where they revealed a new song entitled "I'll Be Ready", originally thought to be entitled "When Babylon Come For I," for a crowd of 42,000. The album cover was officially revealed on December 10, 2007. The title track was released for free download on their site in January 2008. The first single "Addicted" was released on February 19 and peaked at No. 30 on the Mainstream Rock chart. The album was released on April 8, 2008 entitled When Angels & Serpents Dance. On July 28, 2008, the group played a free public performance at the Orange County Choppers headquarters in Newburgh, NY, with OCC The Band opening. The band also played on August 16, 2008 at the Angel Stadium of Anaheim's annual Harvest Crusade. During September 2008 P.O.D played alongside Redline, Behind Crimson Eyes, Alter Bridge and Disturbed as part of the Music As a Weapon tour 2008 in Australia. CANNOTANSWER
|
it was officially announced, on December 30, 2006, that Jason Truby had left the band.
|
Payable on Death is an American Christian metal band formed in 1992 and based in San Diego, California. The band's line-up consists of drummer and rhythm guitarist Wuv Bernardo, vocalist Sonny Sandoval, bassist Traa Daniels, and lead guitarist Marcos Curiel. They have sold over 12 million records worldwide. Over the course of their career, the band has received three Grammy Award nominations, contributed to numerous motion picture soundtracks and toured internationally. With their third studio album, The Fundamental Elements of Southtown, they achieved their initial mainstream success; the album was certified platinum by the RIAA in 2000. Their following studio album, Satellite, continued the band's success with the singles, "Alive" and "Youth of the Nation", pushing it to go triple platinum.
History
Early years (1991–1993)
In 1991, friends Wuv Bernardo and Marcos Curiel engaged in jam sessions, with Bernardo playing the drums and Curiel covering guitar with no vocalist. Calling themselves Eschatos, they started playing at keg parties doing Metallica and Slayer cover songs.
After his mother's fatal illness, Sonny Sandoval converted to Christianity and was asked by Bernardo, his cousin, to join the band as a way to keep his mind straight as mentioned on their DVD, Still Payin' Dues. They then recruited bassist Gabe Portillo and eventually changed their name to P.O.D.
Snuff the Punk and Brown (1994–1998)
After recording a demo tape, Traa Daniels joined the band in 1994 when they needed a bassist for some shows to replace Portillo. P.O.D. signed with Rescue Records, a label created by Bernardo's father, Noah Bernardo Sr., who was also the band's first manager. Between 1994 and 1997, they released three albums under the label, Snuff the Punk, Brown and Payable on Death Live. Longtime manager Tim Cook was first introduced to the band when he booked them to play his club The Where-House in Bartlesville, Oklahoma following strong local word of mouth support. He later described their performance by saying: "I stood at the back of the venue with tears in my eyes – it was the greatest thing I had ever seen." By that point, Bernardo Sr. was looking for someone else to take P.O.D.'s career further and so Cook took over as manager.
Shortly after the release of Payable on Death Live, Essential Records offered P.O.D. a $100,000 recording contract, but on behalf of the band Sandoval told band manager Tim Cook to decline the offer because, "God has a bigger plan for P.O.D." When, in 1998, Atlantic Records A&R John Rubeli first came across P.O.D.'s demo he "didn't quite get it", as he later told HitQuarters. It was only when he saw them play live at The Roxy on the Sunset Strip and witnessed not just an enthusiastic audience singing every word but the center of a vibrant youth movement that he became convinced by the band. The band was quickly signed to a major-label deal. P.O.D. soon released The Warriors EP, a tribute EP to their loyal fans as a transitional album from Rescue Records to Atlantic Records.
The Fundamental Elements of Southtown and Satellite (1999–2002)
P.O.D.'s third studio album, 1999's The Fundamental Elements of Southtown, spawned the hits "Southtown" and "Rock the Party (Off the Hook)", which was their first video to reach No. 1 on MTV's Total Request Live. The song "School of Hard Knocks" was featured on the soundtrack for Little Nicky while both "Southtown" and "Rock the Party" appeared in the movie. All three music videos endured heavy play on MTV2 and the songs were rock radio hits. The album went on to become RIAA certified platinum.
On September 11, 2001 P.O.D. released their fourth studio album, Satellite. The album's first single, "Alive", went on to become one of MTV's and MTV2's top played videos of the year. The video's popularity, as well as the song's positive message, helped the song become a huge modern rock radio hit and it was Grammy nominated for Best Hard Rock Performance in 2002. Also in 2002, the band contributed the song "America" to Santana's album Shaman.
The album's second single, "Youth of the Nation", was influenced in part by the school shootings at Santana High School, Columbine High School, and Granite Hills High School. It was Grammy nominated for Best Hard Rock Performance in 2003. The 2002 singles, "Boom" and "Satellite", also became quite popular. In addition, the concluding track of the album, "Portrait," was Grammy nominated for Best Metal Performance in 2003. It was used in the comedy film Here Comes the Boom, starring Kevin James.
Satellite went on to become RIAA-certified triple platinum. The author of Encyclopedia of Contemporary Christian Music has described P.O.D. as "One of the biggest success stories in recent Christian music."
Payable on Death and Testify (2003–2006)
On February 19, 2003, guitarist Curiel left the band due to his side project, The Accident Experiment, and "spiritual differences." However, Curiel claimed that he was actually kicked out of the band. Curiel was replaced by Jason Truby, former member of Christian metal band Living Sacrifice, and assisted with the recording of "Sleeping Awake", from The Matrix Reloaded soundtrack. In an interview with Yahoo! Music, Sandoval stated that Truby is the reason why the group is still together. On November 4, 2003, P.O.D. released their fifth studio album, Payable on Death, which saw the group shift from their well-known rapcore sound to a darker, more melodic metal sound. The album was hit with controversy due to its "occult" cover, which led as many as 85% of Christian bookstores across the United States to ban the album. With the help of the album's hit single "Will You" and "Change the World", it went on to sell over 520,000 copies and was certified Gold. Sometime after the tsunami in Asia, many singers, musicians, and actors/actresses, including Sandoval and Bernardo, participated in the recording of, "Forever in Our Hearts", with all proceeds going to benefit the tsunami relief.
P.O.D.'s sixth studio album Testify was slated for a December 2005 release, but was pushed back to January 24, 2006. On November 15, 2005, P.O.D. released The Warriors EP, Volume 2, which featured demos from the upcoming album, to help build up the fans' anticipation for the pending January release. The album's first single, "Goodbye for Now" (with a vocal tag by a then-unknown Katy Perry) went on to become a No. 1 video on MTV's TRL, along with having a solid radio presence, it also became the band's unprecedented 4th number one video on Total Request Live. The second single off the album, "Lights Out" was a minor hit, but was featured as the official theme song to WWE's Survivor Series 2005. In another contribution to WWE, they performed fellow San Diego native Rey Mysterio's theme song "Booyaka 619" at WrestleMania 22. To promote their latest album, P.O.D. went on a nationwide tour called the "Warriors Tour 2: Guilty by Association", which began in April, and included the bands Pillar, The Chariot and Maylene and the Sons of Disaster.
On August 11, 2006, P.O.D. announced in their online newsletter that they had left Atlantic Records.
On September 16, 2006, P.O.D. announced that they had teamed up with Rhino Records to release a greatest hits record simply titled, Greatest Hits: The Atlantic Years, which was released on November 21, 2006. They shot a music video for their single "Going In Blind", one of the two new songs they included in the tenth album, and they had meetings with various record labels to begin working on new material for an album they hoped to release in mid-2007.
When Angels & Serpents Dance (2007–2009)
In a statement made by the band's manager on their MySpace page, it was officially announced, on December 30, 2006, that Jason Truby had left the band. They had said "God worked it out because Truby decided to leave the band the same day Curiel asked to rejoin." Curiel performed with the band for the first time since his departure on the 2006 New Year's Eve episode of Jimmy Kimmel Live!.
On February 2, 2007, the band made a new record deal with INO Records.
On June 1, 2007, at the Rockbox in San Diego, the band performed and revealed a new song entitled "Condescending", along with another new song performed on June 16, 2007, at the Journeys Backyard BBQ tour entitled "Addicted". They also revealed the title of their new album to be When Angels & Serpents Dance. On August 4, 2007, the band played at Angel Stadium of Anaheim's annual Harvest Crusade for a crowd of 42,000, where they revealed a new song, "I'll Be Ready", originally thought to be titled "When Babylon Come for I".
The album cover was officially revealed on December 10, 2007. The title track was released for free download on their site in January 2008. The first single "Addicted" was released on February 19 and peaked at No. 30 on the Mainstream Rock chart. The album was released on April 8, 2008, entitled When Angels & Serpents Dance. On July 28, 2008, the group played a free public performance at the Orange County Choppers headquarters in Newburgh, NY, with OCC The Band opening. The band also played on August 16, 2008, at the Angel Stadium of Anaheim's annual Harvest Crusade. During September 2008 P.O.D played alongside Redline, Behind Crimson Eyes, Alter Bridge, and Disturbed as part of the Music As a Weapon tour 2008 in Australia.
Murdered Love (2010–2013)
The band headlined the first annual Spring Jam Fest in May 2011. They appeared on the Rock of Allegiance tour later that summer. On July 25, 2011, the band released a demo of the song "On Fire" as a free download on their official website.
In October 2011, P.O.D. announced a multi-album artist deal with Razor & Tie. On April 5, 2012, the song "Eyez" became a free download on the band's website for a limited time. Shortly after, an article on their website stated that "Lost in Forever" would be the first single from the new album, entitled Murdered Love.
Murdered Love was originally going to be released in June 2012, but was instead pushed back to July 10. The album was produced by Howard Benson, who also produced Satellite and The Fundamental Elements of Southtown. It was described by Curiel as "Back to our roots. A little bit of hip hop, a little bit of punk rock, or reggae". The album caused controversy concerning its eleventh track, "I Am", which uses the word "fuck" (albeit backmasked). Sandoval, explaining the purpose of the song, said, "being up close and personal with these kids, that's what came out in that song. I'm a man of faith and I'm a follower and a believer of Jesus Christ, and in talking to these kids, and even in talking to people just throughout my career in P.O.D., a lot of these bands and athletes and all these people that you meet, they don't have a problem with Jesus. They have a problem with people that are religious and claim to know Jesus, but aren't living it or acting it and aren't loving the way Jesus did. In my faith, if I believe that Jesus paid for the sins of the world, and I'm all these things, this is what's going on in the real world, and do you still love someone like me? And even though I know you do, and I believe in you, I believe in your forgiveness and your grace and your mercy, there's still so much confusion around me that everybody's getting in the way and trying to take your place. Everything gets in my way from seeing who Jesus was...We had that song for almost a year, and I didn't take it lightly. I'd been praying on it for over a year. I'd actually took counsel and let people hear it. And it was 50/50. Some people are like, you know what, go for it. Because my heart is like, I don't write music for Christians. I don't write music for people that I believe are saved and going to heaven. If it's a breath of you and encourages you and gives you a sense of power to go balls out for what you believe in, then by all means. But ultimately we're trying to reach people fed up with religion that are sick and tired of it, and people that are in the real world that really are lost and confused. Our music has always been a tool to bring hope to those people. I'm sorry we can't please everybody in the church, but ultimately in our faith, I believe you're taken care of. There are a lot of people that live in the real world that are out on the streets, that are prostituting themselves, that are being sexually abused, that are being murdered and killed, and it's an evil world. And sometimes you've got to just give them the truth flat out. And it might offend some people. Might offend a lot of people. But at the end of the day, if they understand it and they get it, and they allow God to speak straight into their soul, then I think it's worth the slap on the hand." The band went on tour with Shinedown and Three Days Grace as an opening act.
In a 2012 interview with Broken Records Magazine, Sandoval said that the band had to get their lives back in order and take care of personal needs before getting back into music, but was extremely happy about the response the band was getting from fans.
On October 22, 2013, P.O.D. released a deluxe edition of Murdered Love. The album contains the original songs, slightly remixed, along with bonus tracks "Find a Way", "Burn It Down", acoustic versions of "Beautiful" and "West Coast Rock Steady", a remixed version of "On Fire", and music videos for "Murdered Love", "Beautiful", "Higher", and "Lost In Forever". Multiple behind the scenes videos were also on the track list.
SoCal Sessions, The Awakening and Circles (2014–present)
In mid-2014, P.O.D. announced an acoustic album to be released toward the end of the year. The album was crowd-funded on the website PledgeMusic. On October 20, 2014, P.O.D. announced a new record deal with T-Boy Records along with a new acoustic album. SoCal Sessions was released on November 17, 2014, and contained songs such as "Alive" and "Youth of the Nation".
The band followed that release with another studio album, The Awakening, released on August 21, 2015, which was produced by Howard Benson, with guest vocalists such as Maria Brink of In This Moment and Lou Koller of Sick of It All.
On May 17, 2016, the band announced that they would be taking part in the Make America Rock Again super tour throughout the summer and fall 2016. The tour featured a number of artists who had success throughout the 2000s.
On August 18, 2017, the band released a new song, "Soundboy Killa", and embarked on a fall tour promoting the song.
In January 2018, it was announced that the band had signed a new record deal with Mascot Records. They toured alongside Alien Ant Farm, Lit, and Buckcherry on the "Gen-X Tour" in 2018. Their tenth studio album, Circles, was released on November 16, 2018.
Their band were scheduled to start their Satellite Album 20th Anniversary tour in Sturgis, South Dakota at Buffalo Chip on August 14, 2021, and end on October 7, 2021, at the House of Blues in San Diego, California.
Musical style and influences
The band's name, Payable on Death (P.O.D.), derives itself from the banking term "Payable on Death". The band chose this name to be a direct tie in with the Christian theology that explains that since Jesus died on the Cross, Christians' debts to God have been paid for; in other words all believers, in their acceptance that Jesus was sacrificed for them on God's behalf, have inherited eternal life. P.O.D.'s style has evolved over the years, from the rap metal sound on their early albums to the nu metal and reggae-infused alternative metal styles for which they're most well known. The band's seventh album, When Angels & Serpents Dance, is a combination of alternative rock, reggae rock and Latin-influenced metal with almost none of the rap metal or nu metal sound of their older releases. P.O.D.'s influences include Boogie Down Productions, Run-DMC, U2, the Police, Bad Brains, Santana, Metallica, AC/DC, Suicidal Tendencies, Bob Marley, Primus, Earth, Wind & Fire, 24-7 Spyz, and Steel Pulse.
Band members
Current members
Wuv Bernardo − drums, rhythm guitar, backing vocals (1992–present)
Sonny Sandoval − lead vocals (1992–present)
Traa Daniels − bass, backing vocals (1993–present)
Marcos Curiel − lead guitar, programming, backing vocals (1992–2003, 2006–present)
Former members
Gabe Portillo − bass, backing vocals (1992–1993)
Jason Truby − lead guitar, backing vocals <small>(Living Sacrifice) (2003–2006)
Former touring musicians
Tim Pacheco – backing vocals, percussion, trumpet, keyboards (2006)
Luis Castillo – keyboards, backing vocals, percussion (2011–2016)
Sameer Bhattacharya – keyboards, backing vocals (2016–2018)
Jonny Beats – drums (February – March 2019, October – November 2019)
Timeline
Discography
Snuff the Punk (1994)
Brown (1996)
The Fundamental Elements of Southtown (1999)
Satellite (2001)
Payable on Death (2003)
Testify (2006)
When Angels & Serpents Dance (2008)
Murdered Love (2012)
SoCal Sessions (2014)
The Awakening (2015)
Circles (2018)
Awards
American Music Awards
2003 - Favorite Contemporary Inspirational Artist (nomination)
Echo Awards
2003 - International Alternative Group of the Year
San Diego Music Awards
1999 - Best Hard Rock Artist
2000 - Best Hard Rock Artist
Note: Album- and single-specific awards and nominations are listed under their respective articles.
References
External links
American alternative metal musical groups
American Christian metal musical groups
Atlantic Records artists
Christian alternative metal groups
Christian rock groups from California
Hard rock musical groups from California
Musical groups established in 1992
Musical groups from San Diego
Musical quartets
Nu metal musical groups from California
Rapcore groups
P.O.D.
Razor & Tie artists
| true |
[
"\"Did Anyone Approach You?\" is a song by the Norwegian band A-ha. It was the third single to be taken from their 2002 album Lifelines. It was recorded at The Alabaster Room in New York City sometime between June 2001 and January 2002.\n\nTrack listing\n \"Did Anyone Approach You? (Original Album Version)\" (4:11)\n \"Did Anyone Approach You? (Turner Remix)\" (3:43)\n \"Did Anyone Approach You? (Reamped)\" (4:51)\n \"Did Anyone Approach You? (Tore Johansson Remix)\" (5:55)\n \"Afternoon High (Demo Version)\" (4:40)\n \"Did Anyone Approach You? (Video Clip)\" (4:11)\n\nVideo\nThe video was filmed by Lauren Savoy, the wife of A-ha guitarist Paul Waaktaar-Savoy. It was shot at Ullevaal Stadion on 6 June 2002, the first concert on the band's Lifelines tour.\n\nCharts\n\nReferences\n\n2002 singles\nA-ha songs\nSongs written by Paul Waaktaar-Savoy\nWarner Music Group singles\n2002 songs",
"Life, Love & Lies is the second studio album by Canadian rock band State of Shock. The album includes their single, \"Money Honey\". Life, Love & Lies was produced by Canadian Producer Jeff Dawson. The photography on the album was done by Erich Saide. The second single was announced on the band's official website on October 4, 2007 as \"Hearts That Bleed\". In 2008 State of Shock re-released the album in the U.S. This version included both a brand new song titled \"When Did Love Leave\" and a re-recorded version of \"Rollin\", a song from their previous album Guilty By Association. In April 2011, the album was certified gold by the CRIA.\n\nTrack listing\n \"Life, Love & Lies\" - 3:50\n \"Hearts That Bleed\" - 3:10\n \"Too Pretty\" - 3:34\n \"Best I Ever Had\" - 3:45\n \"Day After Day\" - 3:39\n \"Money Honey\" - 3:17\n \"Honeymoon's Over\" - 3:06\n \"Different Day\" - 4:05\n \"Stupid\" - 2:35\n \"Pieces of You\" - 3:48\n \"Rollin\" - 3:53 (US)\n \"When Did Love Leave\" - 3:28 (US)\n\nSingles\n\"Money Honey\" (2007)\n\"Hearts That Bleed\" (2007)\n\"Best I Ever Had\" (2008)\n\"Too Pretty\" (2009)\n\"Different Day\" (2009)\n\nReferences\n\n2007 albums\nState of Shock (band) albums"
] |
[
"P.O.D.",
"When Angels & Serpents Dance (2007-2009)",
"Did anyone ever leave the band?",
"it was officially announced, on December 30, 2006, that Jason Truby had left the band."
] |
C_90f470d2620e491f9950476e828090d1_1
|
What happened in February 2007?
| 2 |
What happened in February 2007 with the band P.O.D.?
|
P.O.D.
|
In a statement made by the band's manager on their MySpace page, it was officially announced, on December 30, 2006, that Jason Truby had left the band. They had said "God worked it out because Truby decided to leave the band the same day Curiel asked to rejoin." Curiel performed with the band for the first time since his departure on the 2006 New Year's Eve episode of Jimmy Kimmel Live!. On February 2, 2007 the band made a new record deal with INO Records. On June 1, 2007, at the Rockbox in San Diego, the band performed and revealed a new song entitled "Condescending", along with another new song performed on June 16, 2007, at the Journeys Backyard BBQ tour entitled "Addicted". They also revealed the title of their new album to be When Angels & Serpents Dance. On August 4, 2007, the band played at Angel Stadium of Anaheim's annual Harvest Crusade where they revealed a new song entitled "I'll Be Ready", originally thought to be entitled "When Babylon Come For I," for a crowd of 42,000. The album cover was officially revealed on December 10, 2007. The title track was released for free download on their site in January 2008. The first single "Addicted" was released on February 19 and peaked at No. 30 on the Mainstream Rock chart. The album was released on April 8, 2008 entitled When Angels & Serpents Dance. On July 28, 2008, the group played a free public performance at the Orange County Choppers headquarters in Newburgh, NY, with OCC The Band opening. The band also played on August 16, 2008 at the Angel Stadium of Anaheim's annual Harvest Crusade. During September 2008 P.O.D played alongside Redline, Behind Crimson Eyes, Alter Bridge and Disturbed as part of the Music As a Weapon tour 2008 in Australia. CANNOTANSWER
|
!. On February 2, 2007 the band made a new record deal with INO Records.
|
Payable on Death is an American Christian metal band formed in 1992 and based in San Diego, California. The band's line-up consists of drummer and rhythm guitarist Wuv Bernardo, vocalist Sonny Sandoval, bassist Traa Daniels, and lead guitarist Marcos Curiel. They have sold over 12 million records worldwide. Over the course of their career, the band has received three Grammy Award nominations, contributed to numerous motion picture soundtracks and toured internationally. With their third studio album, The Fundamental Elements of Southtown, they achieved their initial mainstream success; the album was certified platinum by the RIAA in 2000. Their following studio album, Satellite, continued the band's success with the singles, "Alive" and "Youth of the Nation", pushing it to go triple platinum.
History
Early years (1991–1993)
In 1991, friends Wuv Bernardo and Marcos Curiel engaged in jam sessions, with Bernardo playing the drums and Curiel covering guitar with no vocalist. Calling themselves Eschatos, they started playing at keg parties doing Metallica and Slayer cover songs.
After his mother's fatal illness, Sonny Sandoval converted to Christianity and was asked by Bernardo, his cousin, to join the band as a way to keep his mind straight as mentioned on their DVD, Still Payin' Dues. They then recruited bassist Gabe Portillo and eventually changed their name to P.O.D.
Snuff the Punk and Brown (1994–1998)
After recording a demo tape, Traa Daniels joined the band in 1994 when they needed a bassist for some shows to replace Portillo. P.O.D. signed with Rescue Records, a label created by Bernardo's father, Noah Bernardo Sr., who was also the band's first manager. Between 1994 and 1997, they released three albums under the label, Snuff the Punk, Brown and Payable on Death Live. Longtime manager Tim Cook was first introduced to the band when he booked them to play his club The Where-House in Bartlesville, Oklahoma following strong local word of mouth support. He later described their performance by saying: "I stood at the back of the venue with tears in my eyes – it was the greatest thing I had ever seen." By that point, Bernardo Sr. was looking for someone else to take P.O.D.'s career further and so Cook took over as manager.
Shortly after the release of Payable on Death Live, Essential Records offered P.O.D. a $100,000 recording contract, but on behalf of the band Sandoval told band manager Tim Cook to decline the offer because, "God has a bigger plan for P.O.D." When, in 1998, Atlantic Records A&R John Rubeli first came across P.O.D.'s demo he "didn't quite get it", as he later told HitQuarters. It was only when he saw them play live at The Roxy on the Sunset Strip and witnessed not just an enthusiastic audience singing every word but the center of a vibrant youth movement that he became convinced by the band. The band was quickly signed to a major-label deal. P.O.D. soon released The Warriors EP, a tribute EP to their loyal fans as a transitional album from Rescue Records to Atlantic Records.
The Fundamental Elements of Southtown and Satellite (1999–2002)
P.O.D.'s third studio album, 1999's The Fundamental Elements of Southtown, spawned the hits "Southtown" and "Rock the Party (Off the Hook)", which was their first video to reach No. 1 on MTV's Total Request Live. The song "School of Hard Knocks" was featured on the soundtrack for Little Nicky while both "Southtown" and "Rock the Party" appeared in the movie. All three music videos endured heavy play on MTV2 and the songs were rock radio hits. The album went on to become RIAA certified platinum.
On September 11, 2001 P.O.D. released their fourth studio album, Satellite. The album's first single, "Alive", went on to become one of MTV's and MTV2's top played videos of the year. The video's popularity, as well as the song's positive message, helped the song become a huge modern rock radio hit and it was Grammy nominated for Best Hard Rock Performance in 2002. Also in 2002, the band contributed the song "America" to Santana's album Shaman.
The album's second single, "Youth of the Nation", was influenced in part by the school shootings at Santana High School, Columbine High School, and Granite Hills High School. It was Grammy nominated for Best Hard Rock Performance in 2003. The 2002 singles, "Boom" and "Satellite", also became quite popular. In addition, the concluding track of the album, "Portrait," was Grammy nominated for Best Metal Performance in 2003. It was used in the comedy film Here Comes the Boom, starring Kevin James.
Satellite went on to become RIAA-certified triple platinum. The author of Encyclopedia of Contemporary Christian Music has described P.O.D. as "One of the biggest success stories in recent Christian music."
Payable on Death and Testify (2003–2006)
On February 19, 2003, guitarist Curiel left the band due to his side project, The Accident Experiment, and "spiritual differences." However, Curiel claimed that he was actually kicked out of the band. Curiel was replaced by Jason Truby, former member of Christian metal band Living Sacrifice, and assisted with the recording of "Sleeping Awake", from The Matrix Reloaded soundtrack. In an interview with Yahoo! Music, Sandoval stated that Truby is the reason why the group is still together. On November 4, 2003, P.O.D. released their fifth studio album, Payable on Death, which saw the group shift from their well-known rapcore sound to a darker, more melodic metal sound. The album was hit with controversy due to its "occult" cover, which led as many as 85% of Christian bookstores across the United States to ban the album. With the help of the album's hit single "Will You" and "Change the World", it went on to sell over 520,000 copies and was certified Gold. Sometime after the tsunami in Asia, many singers, musicians, and actors/actresses, including Sandoval and Bernardo, participated in the recording of, "Forever in Our Hearts", with all proceeds going to benefit the tsunami relief.
P.O.D.'s sixth studio album Testify was slated for a December 2005 release, but was pushed back to January 24, 2006. On November 15, 2005, P.O.D. released The Warriors EP, Volume 2, which featured demos from the upcoming album, to help build up the fans' anticipation for the pending January release. The album's first single, "Goodbye for Now" (with a vocal tag by a then-unknown Katy Perry) went on to become a No. 1 video on MTV's TRL, along with having a solid radio presence, it also became the band's unprecedented 4th number one video on Total Request Live. The second single off the album, "Lights Out" was a minor hit, but was featured as the official theme song to WWE's Survivor Series 2005. In another contribution to WWE, they performed fellow San Diego native Rey Mysterio's theme song "Booyaka 619" at WrestleMania 22. To promote their latest album, P.O.D. went on a nationwide tour called the "Warriors Tour 2: Guilty by Association", which began in April, and included the bands Pillar, The Chariot and Maylene and the Sons of Disaster.
On August 11, 2006, P.O.D. announced in their online newsletter that they had left Atlantic Records.
On September 16, 2006, P.O.D. announced that they had teamed up with Rhino Records to release a greatest hits record simply titled, Greatest Hits: The Atlantic Years, which was released on November 21, 2006. They shot a music video for their single "Going In Blind", one of the two new songs they included in the tenth album, and they had meetings with various record labels to begin working on new material for an album they hoped to release in mid-2007.
When Angels & Serpents Dance (2007–2009)
In a statement made by the band's manager on their MySpace page, it was officially announced, on December 30, 2006, that Jason Truby had left the band. They had said "God worked it out because Truby decided to leave the band the same day Curiel asked to rejoin." Curiel performed with the band for the first time since his departure on the 2006 New Year's Eve episode of Jimmy Kimmel Live!.
On February 2, 2007, the band made a new record deal with INO Records.
On June 1, 2007, at the Rockbox in San Diego, the band performed and revealed a new song entitled "Condescending", along with another new song performed on June 16, 2007, at the Journeys Backyard BBQ tour entitled "Addicted". They also revealed the title of their new album to be When Angels & Serpents Dance. On August 4, 2007, the band played at Angel Stadium of Anaheim's annual Harvest Crusade for a crowd of 42,000, where they revealed a new song, "I'll Be Ready", originally thought to be titled "When Babylon Come for I".
The album cover was officially revealed on December 10, 2007. The title track was released for free download on their site in January 2008. The first single "Addicted" was released on February 19 and peaked at No. 30 on the Mainstream Rock chart. The album was released on April 8, 2008, entitled When Angels & Serpents Dance. On July 28, 2008, the group played a free public performance at the Orange County Choppers headquarters in Newburgh, NY, with OCC The Band opening. The band also played on August 16, 2008, at the Angel Stadium of Anaheim's annual Harvest Crusade. During September 2008 P.O.D played alongside Redline, Behind Crimson Eyes, Alter Bridge, and Disturbed as part of the Music As a Weapon tour 2008 in Australia.
Murdered Love (2010–2013)
The band headlined the first annual Spring Jam Fest in May 2011. They appeared on the Rock of Allegiance tour later that summer. On July 25, 2011, the band released a demo of the song "On Fire" as a free download on their official website.
In October 2011, P.O.D. announced a multi-album artist deal with Razor & Tie. On April 5, 2012, the song "Eyez" became a free download on the band's website for a limited time. Shortly after, an article on their website stated that "Lost in Forever" would be the first single from the new album, entitled Murdered Love.
Murdered Love was originally going to be released in June 2012, but was instead pushed back to July 10. The album was produced by Howard Benson, who also produced Satellite and The Fundamental Elements of Southtown. It was described by Curiel as "Back to our roots. A little bit of hip hop, a little bit of punk rock, or reggae". The album caused controversy concerning its eleventh track, "I Am", which uses the word "fuck" (albeit backmasked). Sandoval, explaining the purpose of the song, said, "being up close and personal with these kids, that's what came out in that song. I'm a man of faith and I'm a follower and a believer of Jesus Christ, and in talking to these kids, and even in talking to people just throughout my career in P.O.D., a lot of these bands and athletes and all these people that you meet, they don't have a problem with Jesus. They have a problem with people that are religious and claim to know Jesus, but aren't living it or acting it and aren't loving the way Jesus did. In my faith, if I believe that Jesus paid for the sins of the world, and I'm all these things, this is what's going on in the real world, and do you still love someone like me? And even though I know you do, and I believe in you, I believe in your forgiveness and your grace and your mercy, there's still so much confusion around me that everybody's getting in the way and trying to take your place. Everything gets in my way from seeing who Jesus was...We had that song for almost a year, and I didn't take it lightly. I'd been praying on it for over a year. I'd actually took counsel and let people hear it. And it was 50/50. Some people are like, you know what, go for it. Because my heart is like, I don't write music for Christians. I don't write music for people that I believe are saved and going to heaven. If it's a breath of you and encourages you and gives you a sense of power to go balls out for what you believe in, then by all means. But ultimately we're trying to reach people fed up with religion that are sick and tired of it, and people that are in the real world that really are lost and confused. Our music has always been a tool to bring hope to those people. I'm sorry we can't please everybody in the church, but ultimately in our faith, I believe you're taken care of. There are a lot of people that live in the real world that are out on the streets, that are prostituting themselves, that are being sexually abused, that are being murdered and killed, and it's an evil world. And sometimes you've got to just give them the truth flat out. And it might offend some people. Might offend a lot of people. But at the end of the day, if they understand it and they get it, and they allow God to speak straight into their soul, then I think it's worth the slap on the hand." The band went on tour with Shinedown and Three Days Grace as an opening act.
In a 2012 interview with Broken Records Magazine, Sandoval said that the band had to get their lives back in order and take care of personal needs before getting back into music, but was extremely happy about the response the band was getting from fans.
On October 22, 2013, P.O.D. released a deluxe edition of Murdered Love. The album contains the original songs, slightly remixed, along with bonus tracks "Find a Way", "Burn It Down", acoustic versions of "Beautiful" and "West Coast Rock Steady", a remixed version of "On Fire", and music videos for "Murdered Love", "Beautiful", "Higher", and "Lost In Forever". Multiple behind the scenes videos were also on the track list.
SoCal Sessions, The Awakening and Circles (2014–present)
In mid-2014, P.O.D. announced an acoustic album to be released toward the end of the year. The album was crowd-funded on the website PledgeMusic. On October 20, 2014, P.O.D. announced a new record deal with T-Boy Records along with a new acoustic album. SoCal Sessions was released on November 17, 2014, and contained songs such as "Alive" and "Youth of the Nation".
The band followed that release with another studio album, The Awakening, released on August 21, 2015, which was produced by Howard Benson, with guest vocalists such as Maria Brink of In This Moment and Lou Koller of Sick of It All.
On May 17, 2016, the band announced that they would be taking part in the Make America Rock Again super tour throughout the summer and fall 2016. The tour featured a number of artists who had success throughout the 2000s.
On August 18, 2017, the band released a new song, "Soundboy Killa", and embarked on a fall tour promoting the song.
In January 2018, it was announced that the band had signed a new record deal with Mascot Records. They toured alongside Alien Ant Farm, Lit, and Buckcherry on the "Gen-X Tour" in 2018. Their tenth studio album, Circles, was released on November 16, 2018.
Their band were scheduled to start their Satellite Album 20th Anniversary tour in Sturgis, South Dakota at Buffalo Chip on August 14, 2021, and end on October 7, 2021, at the House of Blues in San Diego, California.
Musical style and influences
The band's name, Payable on Death (P.O.D.), derives itself from the banking term "Payable on Death". The band chose this name to be a direct tie in with the Christian theology that explains that since Jesus died on the Cross, Christians' debts to God have been paid for; in other words all believers, in their acceptance that Jesus was sacrificed for them on God's behalf, have inherited eternal life. P.O.D.'s style has evolved over the years, from the rap metal sound on their early albums to the nu metal and reggae-infused alternative metal styles for which they're most well known. The band's seventh album, When Angels & Serpents Dance, is a combination of alternative rock, reggae rock and Latin-influenced metal with almost none of the rap metal or nu metal sound of their older releases. P.O.D.'s influences include Boogie Down Productions, Run-DMC, U2, the Police, Bad Brains, Santana, Metallica, AC/DC, Suicidal Tendencies, Bob Marley, Primus, Earth, Wind & Fire, 24-7 Spyz, and Steel Pulse.
Band members
Current members
Wuv Bernardo − drums, rhythm guitar, backing vocals (1992–present)
Sonny Sandoval − lead vocals (1992–present)
Traa Daniels − bass, backing vocals (1993–present)
Marcos Curiel − lead guitar, programming, backing vocals (1992–2003, 2006–present)
Former members
Gabe Portillo − bass, backing vocals (1992–1993)
Jason Truby − lead guitar, backing vocals <small>(Living Sacrifice) (2003–2006)
Former touring musicians
Tim Pacheco – backing vocals, percussion, trumpet, keyboards (2006)
Luis Castillo – keyboards, backing vocals, percussion (2011–2016)
Sameer Bhattacharya – keyboards, backing vocals (2016–2018)
Jonny Beats – drums (February – March 2019, October – November 2019)
Timeline
Discography
Snuff the Punk (1994)
Brown (1996)
The Fundamental Elements of Southtown (1999)
Satellite (2001)
Payable on Death (2003)
Testify (2006)
When Angels & Serpents Dance (2008)
Murdered Love (2012)
SoCal Sessions (2014)
The Awakening (2015)
Circles (2018)
Awards
American Music Awards
2003 - Favorite Contemporary Inspirational Artist (nomination)
Echo Awards
2003 - International Alternative Group of the Year
San Diego Music Awards
1999 - Best Hard Rock Artist
2000 - Best Hard Rock Artist
Note: Album- and single-specific awards and nominations are listed under their respective articles.
References
External links
American alternative metal musical groups
American Christian metal musical groups
Atlantic Records artists
Christian alternative metal groups
Christian rock groups from California
Hard rock musical groups from California
Musical groups established in 1992
Musical groups from San Diego
Musical quartets
Nu metal musical groups from California
Rapcore groups
P.O.D.
Razor & Tie artists
| false |
[
"\"What Happened to Us\" is a song by Australian recording artist Jessica Mauboy, featuring English recording artist Jay Sean. It was written by Sean, Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim and Israel Cruz. \"What Happened to Us\" was leaked online in October 2010, and was released on 10 March 2011, as the third single from Mauboy's second studio album, Get 'Em Girls (2010). The song received positive reviews from critics.\n\nA remix of \"What Happened to Us\" made by production team OFM, was released on 11 April 2011. A different version of the song which features Stan Walker, was released on 29 May 2011. \"What Happened to Us\" charted on the ARIA Singles Chart at number 14 and was certified platinum by the Australian Recording Industry Association (ARIA). An accompanying music video was directed by Mark Alston, and reminisces on a former relationship between Mauboy and Sean.\n\nProduction and release\n\n\"What Happened to Us\" was written by Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim, Israel Cruz and Jay Sean. It was produced by Skaller, Cruz, Rohaim and Bobby Bass. The song uses C, D, and B minor chords in the chorus. \"What Happened to Us\" was sent to contemporary hit radio in Australia on 14 February 2011. The cover art for the song was revealed on 22 February on Mauboy's official Facebook page. A CD release was available for purchase via her official website on 10 March, for one week only. It was released digitally the following day.\n\nReception\nMajhid Heath from ABC Online Indigenous called the song a \"Jordin Sparks-esque duet\", and wrote that it \"has a nice innocence to it that rings true to the experience of losing a first love.\" Chris Urankar from Nine to Five wrote that it as a \"mid-tempo duet ballad\" which signifies Mauboy's strength as a global player. On 21 March 2011, \"What Happened to Us\" debuted at number 30 on the ARIA Singles Chart, and peaked at number 14 the following week. The song was certified platinum by the Australian Recording Industry Association (ARIA), for selling 70,000 copies. \"What Happened to Us\" spent a total of ten weeks in the ARIA top fifty.\n\nMusic video\n\nBackground\nThe music video for the song was shot in the Elizabeth Bay House in Sydney on 26 November 2010. The video was shot during Sean's visit to Australia for the Summerbeatz tour. During an interview with The Daily Telegraph while on the set of the video, Sean said \"the song is sick! ... Jessica's voice is amazing and we're shooting [the video] in this ridiculously beautiful mansion overlooking the harbour.\" The video was directed by Mark Alston, who had previously directed the video for Mauboy's single \"Let Me Be Me\" (2009). It premiered on YouTube on 10 February 2011.\n\nSynopsis and reception\nThe video begins showing Mauboy who appears to be sitting on a yellow antique couch in a mansion, wearing a purple dress. As the video progresses, scenes of memories are displayed of Mauboy and her love interest, played by Sean, spending time there previously. It then cuts to the scenes where Sean appears in the main entrance room of the mansion. The final scene shows Mauboy outdoors in a gold dress, surrounded by green grass and trees. She is later joined by Sean who appears in a black suit and a white shirt, and together they sing the chorus of the song to each other. David Lim of Feed Limmy wrote that the video is \"easily the best thing our R&B princess has committed to film – ever\" and praised the \"mansion and wondrous interior décor\". He also commended Mauboy for choosing Australian talent to direct the video instead of American directors, which she had used for her previous two music videos. Since its release, the video has received over two million views on Vevo.\n\nLive performances\nMauboy performed \"What Happened to Us\" live for the first time during her YouTube Live Sessions program on 4 December 2010. She also appeared on Adam Hills in Gordon Street Tonight on 23 February 2011 for an interview and later performed the song. On 15 March 2011, Mauboy performed \"What Happened to Us\" on Sunrise. She also performed the song with Stan Walker during the Australian leg of Chris Brown's F.A.M.E. Tour in April 2011. Mauboy and Walker later performed \"What Happened to Us\" on Dancing with the Stars Australia on 29 May 2011. From November 2013 to February 2014, \"What Happened to Us\" was part of the set list of the To the End of the Earth Tour, Mauboy's second headlining tour of Australia, with Nathaniel Willemse singing Sean's part.\n\nTrack listing\n\nDigital download\n \"What Happened to Us\" featuring Jay Sean – 3:19\n \"What Happened to Us\" featuring Jay Sean (Sgt Slick Remix) – 6:33\n \"What Happened to Us\" featuring Jay Sean (Just Witness Remix) – 3:45\n\nCD single\n \"What Happened to Us\" featuring Jay Sean (Album Version) – 3:19\n \"What Happened to Us\" featuring Jay Sean (Sgt Slick Remix) – 6:33\n \"What Happened to Us\" featuring Jay Sean (OFM Remix) – 3:39\n\nDigital download – Remix\n \"What Happened to Us\" featuring Jay Sean (OFM Remix) – 3:38\n\nDigital download\n \"What Happened to Us\" featuring Stan Walker – 3:20\n\nPersonnel\nSongwriting – Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim, Israel Cruz, Jay Sean\nProduction – Jeremy Skaller, Bobby Bass\nAdditional production – Israel Cruz, Khaled Rohaim\nLead vocals – Jessica Mauboy, Jay Sean\nMixing – Phil Tan\nAdditional mixing – Damien Lewis\nMastering – Tom Coyne \nSource:\n\nCharts\n\nWeekly chart\n\nYear-end chart\n\nCertification\n\nRadio dates and release history\n\nReferences\n\n2010 songs\n2011 singles\nJessica Mauboy songs\nJay Sean songs\nSongs written by Billy Steinberg\nSongs written by Jay Sean\nSongs written by Josh Alexander\nSongs written by Israel Cruz\nVocal duets\nSony Music Australia singles\nSongs written by Khaled Rohaim",
"Don Juan Manuel's Tales of Count Lucanor, in Spanish Libro de los ejemplos del conde Lucanor y de Patronio (Book of the Examples of Count Lucanor and of Patronio), also commonly known as El Conde Lucanor, Libro de Patronio, or Libro de los ejemplos (original Old Castilian: Libro de los enxiemplos del Conde Lucanor et de Patronio), is one of the earliest works of prose in Castilian Spanish. It was first written in 1335.\n\nThe book is divided into four parts. The first and most well-known part is a series of 51 short stories (some no more than a page or two) drawn from various sources, such as Aesop and other classical writers, and Arabic folktales.\n\nTales of Count Lucanor was first printed in 1575 when it was published at Seville under the auspices of Argote de Molina. It was again printed at Madrid in 1642, after which it lay forgotten for nearly two centuries.\n\nPurpose and structure\n\nA didactic, moralistic purpose, which would color so much of the Spanish literature to follow (see Novela picaresca), is the mark of this book. Count Lucanor engages in conversation with his advisor Patronio, putting to him a problem (\"Some man has made me a proposition...\" or \"I fear that such and such person intends to...\") and asking for advice. Patronio responds always with the greatest humility, claiming not to wish to offer advice to so illustrious a person as the Count, but offering to tell him a story of which the Count's problem reminds him. (Thus, the stories are \"examples\" [ejemplos] of wise action.) At the end he advises the Count to do as the protagonist of his story did.\n\nEach chapter ends in more or less the same way, with slight variations on: \"And this pleased the Count greatly and he did just so, and found it well. And Don Johán (Juan) saw that this example was very good, and had it written in this book, and composed the following verses.\" A rhymed couplet closes, giving the moral of the story.\n\nOrigin of stories and influence on later literature\nMany of the stories written in the book are the first examples written in a modern European language of various stories, which many other writers would use in the proceeding centuries. Many of the stories he included were themselves derived from other stories, coming from western and Arab sources.\n\nShakespeare's The Taming of the Shrew has the basic elements of Tale 35, \"What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\".\n\nTale 32, \"What Happened to the King and the Tricksters Who Made Cloth\" tells the story that Hans Christian Andersen made popular as The Emperor's New Clothes.\n\nStory 7, \"What Happened to a Woman Named Truhana\", a version of Aesop's The Milkmaid and Her Pail, was claimed by Max Müller to originate in the Hindu cycle Panchatantra.\n\nTale 2, \"What happened to a good Man and his Son, leading a beast to market,\" is the familiar fable The miller, his son and the donkey.\n\nIn 2016, Baroque Decay released a game under the name \"The Count Lucanor\". As well as some protagonists' names, certain events from the books inspired past events in the game.\n\nThe stories\n\nThe book opens with a prologue which introduces the characters of the Count and Patronio. The titles in the following list are those given in Keller and Keating's 1977 translation into English. James York's 1868 translation into English gives a significantly different ordering of the stories and omits the fifty-first.\n\n What Happened to a King and His Favorite \n What Happened to a Good Man and His Son \n How King Richard of England Leapt into the Sea against the Moors\n What a Genoese Said to His Soul When He Was about to Die \n What Happened to a Fox and a Crow Who Had a Piece of Cheese in His Beak\n How the Swallow Warned the Other Birds When She Saw Flax Being Sown \n What Happened to a Woman Named Truhana \n What Happened to a Man Whose Liver Had to Be Washed \n What Happened to Two Horses Which Were Thrown to the Lion \n What Happened to a Man Who on Account of Poverty and Lack of Other Food Was Eating Bitter Lentils \n What Happened to a Dean of Santiago de Compostela and Don Yllán, the Grand Master of Toledo\n What Happened to the Fox and the Rooster \n What Happened to a Man Who Was Hunting Partridges \n The Miracle of Saint Dominick When He Preached against the Usurer \n What Happened to Lorenzo Suárez at the Siege of Seville \n The Reply that count Fernán González Gave to His Relative Núño Laynes \n What Happened to a Very Hungry Man Who Was Half-heartedly Invited to Dinner \n What Happened to Pero Meléndez de Valdés When He Broke His Leg \n What Happened to the Crows and the Owls \n What Happened to a King for Whom a Man Promised to Perform Alchemy \n What Happened to a Young King and a Philosopher to Whom his Father Commended Him \n What Happened to the Lion and the Bull \n How the Ants Provide for Themselves \n What Happened to the King Who Wanted to Test His Three Sons \n What Happened to the Count of Provence and How He Was Freed from Prison by the Advice of Saladin\n What Happened to the Tree of Lies \n What Happened to an Emperor and to Don Alvarfáñez Minaya and Their Wives \n What Happened in Granada to Don Lorenzo Suárez Gallinato When He Beheaded the Renegade Chaplain \n What Happened to a Fox Who Lay down in the Street to Play Dead \n What Happened to King Abenabet of Seville and Ramayquía His Wife \n How a Cardinal Judged between the Canons of Paris and the Friars Minor \n What Happened to the King and the Tricksters Who Made Cloth \n What Happened to Don Juan Manuel's Saker Falcon and an Eagle and a Heron \n What Happened to a Blind Man Who Was Leading Another \n What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\n What Happened to a Merchant When He Found His Son and His Wife Sleeping Together \n What Happened to Count Fernán González with His Men after He Had Won the Battle of Hacinas \n What Happened to a Man Who Was Loaded down with Precious Stones and Drowned in the River \n What Happened to a Man and a Swallow and a Sparrow \n Why the Seneschal of Carcassonne Lost His Soul \n What Happened to a King of Córdova Named Al-Haquem \n What Happened to a Woman of Sham Piety \n What Happened to Good and Evil and the Wise Man and the Madman \n What Happened to Don Pero Núñez the Loyal, to Don Ruy González de Zavallos, and to Don Gutier Roiz de Blaguiello with Don Rodrigo the Generous \n What Happened to a Man Who Became the Devil's Friend and Vassal \n What Happened to a Philosopher who by Accident Went down a Street Where Prostitutes Lived \n What Befell a Moor and His Sister Who Pretended That She Was Timid \n What Happened to a Man Who Tested His Friends \n What Happened to the Man Whom They Cast out Naked on an Island When They Took away from Him the Kingdom He Ruled \n What Happened to Saladin and a Lady, the Wife of a Knight Who Was His Vassal \n What Happened to a Christian King Who Was Very Powerful and Haughty\n\nReferences\n\nNotes\n\nBibliography\n\n Sturm, Harlan\n\n Wacks, David\n\nExternal links\n\nThe Internet Archive provides free access to the 1868 translation by James York.\nJSTOR has the to the 1977 translation by Keller and Keating.\nSelections in English and Spanish (pedagogical edition) with introduction, notes, and bibliography in Open Iberia/América (open access teaching anthology)\n\n14th-century books\nSpanish literature\n1335 books"
] |
[
"P.O.D.",
"When Angels & Serpents Dance (2007-2009)",
"Did anyone ever leave the band?",
"it was officially announced, on December 30, 2006, that Jason Truby had left the band.",
"What happened in February 2007?",
"!. On February 2, 2007 the band made a new record deal with INO Records."
] |
C_90f470d2620e491f9950476e828090d1_1
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When did "When Angels & Serpents Dance" release?
| 3 |
When did "When Angels & Serpents Dance" by P.O.D. release?
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P.O.D.
|
In a statement made by the band's manager on their MySpace page, it was officially announced, on December 30, 2006, that Jason Truby had left the band. They had said "God worked it out because Truby decided to leave the band the same day Curiel asked to rejoin." Curiel performed with the band for the first time since his departure on the 2006 New Year's Eve episode of Jimmy Kimmel Live!. On February 2, 2007 the band made a new record deal with INO Records. On June 1, 2007, at the Rockbox in San Diego, the band performed and revealed a new song entitled "Condescending", along with another new song performed on June 16, 2007, at the Journeys Backyard BBQ tour entitled "Addicted". They also revealed the title of their new album to be When Angels & Serpents Dance. On August 4, 2007, the band played at Angel Stadium of Anaheim's annual Harvest Crusade where they revealed a new song entitled "I'll Be Ready", originally thought to be entitled "When Babylon Come For I," for a crowd of 42,000. The album cover was officially revealed on December 10, 2007. The title track was released for free download on their site in January 2008. The first single "Addicted" was released on February 19 and peaked at No. 30 on the Mainstream Rock chart. The album was released on April 8, 2008 entitled When Angels & Serpents Dance. On July 28, 2008, the group played a free public performance at the Orange County Choppers headquarters in Newburgh, NY, with OCC The Band opening. The band also played on August 16, 2008 at the Angel Stadium of Anaheim's annual Harvest Crusade. During September 2008 P.O.D played alongside Redline, Behind Crimson Eyes, Alter Bridge and Disturbed as part of the Music As a Weapon tour 2008 in Australia. CANNOTANSWER
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The album was released on April 8, 2008
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Payable on Death is an American Christian metal band formed in 1992 and based in San Diego, California. The band's line-up consists of drummer and rhythm guitarist Wuv Bernardo, vocalist Sonny Sandoval, bassist Traa Daniels, and lead guitarist Marcos Curiel. They have sold over 12 million records worldwide. Over the course of their career, the band has received three Grammy Award nominations, contributed to numerous motion picture soundtracks and toured internationally. With their third studio album, The Fundamental Elements of Southtown, they achieved their initial mainstream success; the album was certified platinum by the RIAA in 2000. Their following studio album, Satellite, continued the band's success with the singles, "Alive" and "Youth of the Nation", pushing it to go triple platinum.
History
Early years (1991–1993)
In 1991, friends Wuv Bernardo and Marcos Curiel engaged in jam sessions, with Bernardo playing the drums and Curiel covering guitar with no vocalist. Calling themselves Eschatos, they started playing at keg parties doing Metallica and Slayer cover songs.
After his mother's fatal illness, Sonny Sandoval converted to Christianity and was asked by Bernardo, his cousin, to join the band as a way to keep his mind straight as mentioned on their DVD, Still Payin' Dues. They then recruited bassist Gabe Portillo and eventually changed their name to P.O.D.
Snuff the Punk and Brown (1994–1998)
After recording a demo tape, Traa Daniels joined the band in 1994 when they needed a bassist for some shows to replace Portillo. P.O.D. signed with Rescue Records, a label created by Bernardo's father, Noah Bernardo Sr., who was also the band's first manager. Between 1994 and 1997, they released three albums under the label, Snuff the Punk, Brown and Payable on Death Live. Longtime manager Tim Cook was first introduced to the band when he booked them to play his club The Where-House in Bartlesville, Oklahoma following strong local word of mouth support. He later described their performance by saying: "I stood at the back of the venue with tears in my eyes – it was the greatest thing I had ever seen." By that point, Bernardo Sr. was looking for someone else to take P.O.D.'s career further and so Cook took over as manager.
Shortly after the release of Payable on Death Live, Essential Records offered P.O.D. a $100,000 recording contract, but on behalf of the band Sandoval told band manager Tim Cook to decline the offer because, "God has a bigger plan for P.O.D." When, in 1998, Atlantic Records A&R John Rubeli first came across P.O.D.'s demo he "didn't quite get it", as he later told HitQuarters. It was only when he saw them play live at The Roxy on the Sunset Strip and witnessed not just an enthusiastic audience singing every word but the center of a vibrant youth movement that he became convinced by the band. The band was quickly signed to a major-label deal. P.O.D. soon released The Warriors EP, a tribute EP to their loyal fans as a transitional album from Rescue Records to Atlantic Records.
The Fundamental Elements of Southtown and Satellite (1999–2002)
P.O.D.'s third studio album, 1999's The Fundamental Elements of Southtown, spawned the hits "Southtown" and "Rock the Party (Off the Hook)", which was their first video to reach No. 1 on MTV's Total Request Live. The song "School of Hard Knocks" was featured on the soundtrack for Little Nicky while both "Southtown" and "Rock the Party" appeared in the movie. All three music videos endured heavy play on MTV2 and the songs were rock radio hits. The album went on to become RIAA certified platinum.
On September 11, 2001 P.O.D. released their fourth studio album, Satellite. The album's first single, "Alive", went on to become one of MTV's and MTV2's top played videos of the year. The video's popularity, as well as the song's positive message, helped the song become a huge modern rock radio hit and it was Grammy nominated for Best Hard Rock Performance in 2002. Also in 2002, the band contributed the song "America" to Santana's album Shaman.
The album's second single, "Youth of the Nation", was influenced in part by the school shootings at Santana High School, Columbine High School, and Granite Hills High School. It was Grammy nominated for Best Hard Rock Performance in 2003. The 2002 singles, "Boom" and "Satellite", also became quite popular. In addition, the concluding track of the album, "Portrait," was Grammy nominated for Best Metal Performance in 2003. It was used in the comedy film Here Comes the Boom, starring Kevin James.
Satellite went on to become RIAA-certified triple platinum. The author of Encyclopedia of Contemporary Christian Music has described P.O.D. as "One of the biggest success stories in recent Christian music."
Payable on Death and Testify (2003–2006)
On February 19, 2003, guitarist Curiel left the band due to his side project, The Accident Experiment, and "spiritual differences." However, Curiel claimed that he was actually kicked out of the band. Curiel was replaced by Jason Truby, former member of Christian metal band Living Sacrifice, and assisted with the recording of "Sleeping Awake", from The Matrix Reloaded soundtrack. In an interview with Yahoo! Music, Sandoval stated that Truby is the reason why the group is still together. On November 4, 2003, P.O.D. released their fifth studio album, Payable on Death, which saw the group shift from their well-known rapcore sound to a darker, more melodic metal sound. The album was hit with controversy due to its "occult" cover, which led as many as 85% of Christian bookstores across the United States to ban the album. With the help of the album's hit single "Will You" and "Change the World", it went on to sell over 520,000 copies and was certified Gold. Sometime after the tsunami in Asia, many singers, musicians, and actors/actresses, including Sandoval and Bernardo, participated in the recording of, "Forever in Our Hearts", with all proceeds going to benefit the tsunami relief.
P.O.D.'s sixth studio album Testify was slated for a December 2005 release, but was pushed back to January 24, 2006. On November 15, 2005, P.O.D. released The Warriors EP, Volume 2, which featured demos from the upcoming album, to help build up the fans' anticipation for the pending January release. The album's first single, "Goodbye for Now" (with a vocal tag by a then-unknown Katy Perry) went on to become a No. 1 video on MTV's TRL, along with having a solid radio presence, it also became the band's unprecedented 4th number one video on Total Request Live. The second single off the album, "Lights Out" was a minor hit, but was featured as the official theme song to WWE's Survivor Series 2005. In another contribution to WWE, they performed fellow San Diego native Rey Mysterio's theme song "Booyaka 619" at WrestleMania 22. To promote their latest album, P.O.D. went on a nationwide tour called the "Warriors Tour 2: Guilty by Association", which began in April, and included the bands Pillar, The Chariot and Maylene and the Sons of Disaster.
On August 11, 2006, P.O.D. announced in their online newsletter that they had left Atlantic Records.
On September 16, 2006, P.O.D. announced that they had teamed up with Rhino Records to release a greatest hits record simply titled, Greatest Hits: The Atlantic Years, which was released on November 21, 2006. They shot a music video for their single "Going In Blind", one of the two new songs they included in the tenth album, and they had meetings with various record labels to begin working on new material for an album they hoped to release in mid-2007.
When Angels & Serpents Dance (2007–2009)
In a statement made by the band's manager on their MySpace page, it was officially announced, on December 30, 2006, that Jason Truby had left the band. They had said "God worked it out because Truby decided to leave the band the same day Curiel asked to rejoin." Curiel performed with the band for the first time since his departure on the 2006 New Year's Eve episode of Jimmy Kimmel Live!.
On February 2, 2007, the band made a new record deal with INO Records.
On June 1, 2007, at the Rockbox in San Diego, the band performed and revealed a new song entitled "Condescending", along with another new song performed on June 16, 2007, at the Journeys Backyard BBQ tour entitled "Addicted". They also revealed the title of their new album to be When Angels & Serpents Dance. On August 4, 2007, the band played at Angel Stadium of Anaheim's annual Harvest Crusade for a crowd of 42,000, where they revealed a new song, "I'll Be Ready", originally thought to be titled "When Babylon Come for I".
The album cover was officially revealed on December 10, 2007. The title track was released for free download on their site in January 2008. The first single "Addicted" was released on February 19 and peaked at No. 30 on the Mainstream Rock chart. The album was released on April 8, 2008, entitled When Angels & Serpents Dance. On July 28, 2008, the group played a free public performance at the Orange County Choppers headquarters in Newburgh, NY, with OCC The Band opening. The band also played on August 16, 2008, at the Angel Stadium of Anaheim's annual Harvest Crusade. During September 2008 P.O.D played alongside Redline, Behind Crimson Eyes, Alter Bridge, and Disturbed as part of the Music As a Weapon tour 2008 in Australia.
Murdered Love (2010–2013)
The band headlined the first annual Spring Jam Fest in May 2011. They appeared on the Rock of Allegiance tour later that summer. On July 25, 2011, the band released a demo of the song "On Fire" as a free download on their official website.
In October 2011, P.O.D. announced a multi-album artist deal with Razor & Tie. On April 5, 2012, the song "Eyez" became a free download on the band's website for a limited time. Shortly after, an article on their website stated that "Lost in Forever" would be the first single from the new album, entitled Murdered Love.
Murdered Love was originally going to be released in June 2012, but was instead pushed back to July 10. The album was produced by Howard Benson, who also produced Satellite and The Fundamental Elements of Southtown. It was described by Curiel as "Back to our roots. A little bit of hip hop, a little bit of punk rock, or reggae". The album caused controversy concerning its eleventh track, "I Am", which uses the word "fuck" (albeit backmasked). Sandoval, explaining the purpose of the song, said, "being up close and personal with these kids, that's what came out in that song. I'm a man of faith and I'm a follower and a believer of Jesus Christ, and in talking to these kids, and even in talking to people just throughout my career in P.O.D., a lot of these bands and athletes and all these people that you meet, they don't have a problem with Jesus. They have a problem with people that are religious and claim to know Jesus, but aren't living it or acting it and aren't loving the way Jesus did. In my faith, if I believe that Jesus paid for the sins of the world, and I'm all these things, this is what's going on in the real world, and do you still love someone like me? And even though I know you do, and I believe in you, I believe in your forgiveness and your grace and your mercy, there's still so much confusion around me that everybody's getting in the way and trying to take your place. Everything gets in my way from seeing who Jesus was...We had that song for almost a year, and I didn't take it lightly. I'd been praying on it for over a year. I'd actually took counsel and let people hear it. And it was 50/50. Some people are like, you know what, go for it. Because my heart is like, I don't write music for Christians. I don't write music for people that I believe are saved and going to heaven. If it's a breath of you and encourages you and gives you a sense of power to go balls out for what you believe in, then by all means. But ultimately we're trying to reach people fed up with religion that are sick and tired of it, and people that are in the real world that really are lost and confused. Our music has always been a tool to bring hope to those people. I'm sorry we can't please everybody in the church, but ultimately in our faith, I believe you're taken care of. There are a lot of people that live in the real world that are out on the streets, that are prostituting themselves, that are being sexually abused, that are being murdered and killed, and it's an evil world. And sometimes you've got to just give them the truth flat out. And it might offend some people. Might offend a lot of people. But at the end of the day, if they understand it and they get it, and they allow God to speak straight into their soul, then I think it's worth the slap on the hand." The band went on tour with Shinedown and Three Days Grace as an opening act.
In a 2012 interview with Broken Records Magazine, Sandoval said that the band had to get their lives back in order and take care of personal needs before getting back into music, but was extremely happy about the response the band was getting from fans.
On October 22, 2013, P.O.D. released a deluxe edition of Murdered Love. The album contains the original songs, slightly remixed, along with bonus tracks "Find a Way", "Burn It Down", acoustic versions of "Beautiful" and "West Coast Rock Steady", a remixed version of "On Fire", and music videos for "Murdered Love", "Beautiful", "Higher", and "Lost In Forever". Multiple behind the scenes videos were also on the track list.
SoCal Sessions, The Awakening and Circles (2014–present)
In mid-2014, P.O.D. announced an acoustic album to be released toward the end of the year. The album was crowd-funded on the website PledgeMusic. On October 20, 2014, P.O.D. announced a new record deal with T-Boy Records along with a new acoustic album. SoCal Sessions was released on November 17, 2014, and contained songs such as "Alive" and "Youth of the Nation".
The band followed that release with another studio album, The Awakening, released on August 21, 2015, which was produced by Howard Benson, with guest vocalists such as Maria Brink of In This Moment and Lou Koller of Sick of It All.
On May 17, 2016, the band announced that they would be taking part in the Make America Rock Again super tour throughout the summer and fall 2016. The tour featured a number of artists who had success throughout the 2000s.
On August 18, 2017, the band released a new song, "Soundboy Killa", and embarked on a fall tour promoting the song.
In January 2018, it was announced that the band had signed a new record deal with Mascot Records. They toured alongside Alien Ant Farm, Lit, and Buckcherry on the "Gen-X Tour" in 2018. Their tenth studio album, Circles, was released on November 16, 2018.
Their band were scheduled to start their Satellite Album 20th Anniversary tour in Sturgis, South Dakota at Buffalo Chip on August 14, 2021, and end on October 7, 2021, at the House of Blues in San Diego, California.
Musical style and influences
The band's name, Payable on Death (P.O.D.), derives itself from the banking term "Payable on Death". The band chose this name to be a direct tie in with the Christian theology that explains that since Jesus died on the Cross, Christians' debts to God have been paid for; in other words all believers, in their acceptance that Jesus was sacrificed for them on God's behalf, have inherited eternal life. P.O.D.'s style has evolved over the years, from the rap metal sound on their early albums to the nu metal and reggae-infused alternative metal styles for which they're most well known. The band's seventh album, When Angels & Serpents Dance, is a combination of alternative rock, reggae rock and Latin-influenced metal with almost none of the rap metal or nu metal sound of their older releases. P.O.D.'s influences include Boogie Down Productions, Run-DMC, U2, the Police, Bad Brains, Santana, Metallica, AC/DC, Suicidal Tendencies, Bob Marley, Primus, Earth, Wind & Fire, 24-7 Spyz, and Steel Pulse.
Band members
Current members
Wuv Bernardo − drums, rhythm guitar, backing vocals (1992–present)
Sonny Sandoval − lead vocals (1992–present)
Traa Daniels − bass, backing vocals (1993–present)
Marcos Curiel − lead guitar, programming, backing vocals (1992–2003, 2006–present)
Former members
Gabe Portillo − bass, backing vocals (1992–1993)
Jason Truby − lead guitar, backing vocals <small>(Living Sacrifice) (2003–2006)
Former touring musicians
Tim Pacheco – backing vocals, percussion, trumpet, keyboards (2006)
Luis Castillo – keyboards, backing vocals, percussion (2011–2016)
Sameer Bhattacharya – keyboards, backing vocals (2016–2018)
Jonny Beats – drums (February – March 2019, October – November 2019)
Timeline
Discography
Snuff the Punk (1994)
Brown (1996)
The Fundamental Elements of Southtown (1999)
Satellite (2001)
Payable on Death (2003)
Testify (2006)
When Angels & Serpents Dance (2008)
Murdered Love (2012)
SoCal Sessions (2014)
The Awakening (2015)
Circles (2018)
Awards
American Music Awards
2003 - Favorite Contemporary Inspirational Artist (nomination)
Echo Awards
2003 - International Alternative Group of the Year
San Diego Music Awards
1999 - Best Hard Rock Artist
2000 - Best Hard Rock Artist
Note: Album- and single-specific awards and nominations are listed under their respective articles.
References
External links
American alternative metal musical groups
American Christian metal musical groups
Atlantic Records artists
Christian alternative metal groups
Christian rock groups from California
Hard rock musical groups from California
Musical groups established in 1992
Musical groups from San Diego
Musical quartets
Nu metal musical groups from California
Rapcore groups
P.O.D.
Razor & Tie artists
| true |
[
"When Angels & Serpents Dance is the seventh studio album by Californian metal group P.O.D., released in 2008. It is the first album to include Marcos Curiel since Satellite and the first and only album to be produced for P.O.D. by INO/Columbia. It also includes Mike Muir from Suicidal Tendencies, Helmet guitarist/vocalist Page Hamilton, guest Gospel Choir, and the Marley Sisters. The album debuted at number 9 on the Billboard 200, selling over 34,000 copies in its first week. It has sold over 200,000 copies worldwide so far.\n\nPre-release\n\nPerformances\nOn June 1, 2007, at the ROCKBOX in San Diego, the band performed and revealed a new song entitled \"Condescending\", along with another new song performed on June 16, 2007, at the Journeys Backyard BBQ tour entitled \"Addicted\". They also revealed the title of their new album to be \"When Angels & Serpents Dance\".\n\nOn August 4, 2007 the band played at Angel Stadium of Anaheim's annual Harvest Crusade where they revealed a new song entitled \"I'll Be Ready\" for a crowd of 42,000, the largest number in attendance for the three-day event.\n\nCover artwork\nOn December 1, P.O.D. posted a blog on their MySpace that they had set up a \"secret\" website to reveal pieces of the cover to the public from December 3 – 10. P.O.D. also posted the lyrics to one of their songs on the \"secret\" website. They are as follows: \"One must lead in the dance. Who's leading you? Life is real when angels and serpents dance.\"\n\nIn the early morning of December 10, 2007, in addition to the unveiling of the final pieces of the album cover, it was officially announced on P.O.D.'s \"secret website\" that When Angels & Serpents Dance would be released on April 8, 2008.\n\nWebsite\nFor the better part of 2007, payableondeath.com, the main website for P.O.D., featured only a picture of the band with Marcos from the 2002 Still Payin' Dues DVD photoshoot, and a 30-second advertisement for Greatest Hits: The Atlantic Years. In a mass e-mail sent out in mid-December, the band announced that in conjunction with the 2008 New Year, a new website would be launched with an exclusive track from When Angels & Serpents Dance. On January 1, 2008, the website was updated and shows a video with a 30-second preview of the song \"When Angels & Serpents Dance\".\n\nOn January 25, 2008, a free download of the band's title song \"When Angels & Serpents Dance\" became available to the public.\n\nTrack listing\n\nIn other media\nThere are two songs featured in two different games:\n\n \"Addicted\" is used in the video game, WWE SmackDown vs. Raw 2009.\n \"Condescending\" is used in the video game, NASCAR 09.\n\nPersonnel\n Sonny Sandoval – lead vocals\n Wuv Bernardo – drums, rhythm guitar, backing vocals\n Traa Daniels – bass, backing vocals\n Marcos Curiel – lead guitar, glockenspiel, programming, backing vocals\n\nAdditional guests\n Vocals (God Forbid): Page Hamilton (appears courtesy of Helmet)\n Vocals (Kaliforn-Eye-A): Mike Muir (appears courtesy of Suicidal Tendencies / Infectious Grooves)\n Background vocals (I’ll Be Ready): The Marley Girls\n Background vocals: Crystal Taliefero, Mark Renk\n Keyboards (Rise Against): Jason Freese\n Additional vocal production: Mark Renk\n Strings: Suzie Katayama\n\nReferences\n\nP.O.D. albums\nColumbia Records albums\n2008 albums",
"Mark \"Traa\" Daniels (born December 30, 1970) is the bass guitarist of the San Diego rock band P.O.D. He has been a member since 1993 and has performed on all of the band's official records. The band has released thirteen albums – Snuff the Punk, Brown, Payable on Death Live, The Fundamental Elements of Southtown, Satellite, Payable on Death, Testify, Greatest Hits: The Atlantic Years, When Angels & Serpents Dance, Murdered Love, SoCal Sessions, The Awakening, and Circles. Traa is married and has two children, and as a bassist, has a jazz and funk background. He is the oldest member of P.O.D.\n\nIn 2005, Daniels signed an endorsement deal with Warrior, to produce a signature bass guitar designed to his specifications. Traa is also the president of a production company known as Ryot Entertainment. The company has teamed up with SteelRoots. He is the manager of the alternative band The Wrecking. Daniels is a conservative and supports pro-life efforts, including the Pro-Life Day of Silent Solidarity. He originally comes from Cleveland, Ohio.\n\nDiscography\n\nP.O.D.\n\nSnuff the Punk (1994)\nBrown (1996)\nThe Fundamental Elements of Southtown (1999)\nSatellite (2001)\nPayable on Death (2003)\nTestify (2006)\nWhen Angels & Serpents Dance (2008)\nMurdered Love (2012) \nSoCal Sessions (2014)\n The Awakening (2015)\n Circles (2018)\n\nReferences\n\n1970 births\nLiving people\nAmerican heavy metal bass guitarists\nAmerican male bass guitarists\nAfrican-American guitarists\nAfrican-American rock musicians\nAfrican-American Christians\nCalifornia Republicans\nAmerican performers of Christian music\nAlternative metal bass guitarists\n21st-century American bass guitarists\n21st-century American male musicians\n20th-century American bass guitarists\n20th-century American male musicians\n20th-century African-American musicians\n21st-century African-American musicians"
] |
[
"P.O.D.",
"When Angels & Serpents Dance (2007-2009)",
"Did anyone ever leave the band?",
"it was officially announced, on December 30, 2006, that Jason Truby had left the band.",
"What happened in February 2007?",
"!. On February 2, 2007 the band made a new record deal with INO Records.",
"When did \"When Angels & Serpents Dance\" release?",
"The album was released on April 8, 2008"
] |
C_90f470d2620e491f9950476e828090d1_1
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Did they ever play live music in 2007?
| 4 |
Did P.O.D. ever play live music in 2007?
|
P.O.D.
|
In a statement made by the band's manager on their MySpace page, it was officially announced, on December 30, 2006, that Jason Truby had left the band. They had said "God worked it out because Truby decided to leave the band the same day Curiel asked to rejoin." Curiel performed with the band for the first time since his departure on the 2006 New Year's Eve episode of Jimmy Kimmel Live!. On February 2, 2007 the band made a new record deal with INO Records. On June 1, 2007, at the Rockbox in San Diego, the band performed and revealed a new song entitled "Condescending", along with another new song performed on June 16, 2007, at the Journeys Backyard BBQ tour entitled "Addicted". They also revealed the title of their new album to be When Angels & Serpents Dance. On August 4, 2007, the band played at Angel Stadium of Anaheim's annual Harvest Crusade where they revealed a new song entitled "I'll Be Ready", originally thought to be entitled "When Babylon Come For I," for a crowd of 42,000. The album cover was officially revealed on December 10, 2007. The title track was released for free download on their site in January 2008. The first single "Addicted" was released on February 19 and peaked at No. 30 on the Mainstream Rock chart. The album was released on April 8, 2008 entitled When Angels & Serpents Dance. On July 28, 2008, the group played a free public performance at the Orange County Choppers headquarters in Newburgh, NY, with OCC The Band opening. The band also played on August 16, 2008 at the Angel Stadium of Anaheim's annual Harvest Crusade. During September 2008 P.O.D played alongside Redline, Behind Crimson Eyes, Alter Bridge and Disturbed as part of the Music As a Weapon tour 2008 in Australia. CANNOTANSWER
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On June 1, 2007, at the Rockbox in San Diego, the band performed
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Payable on Death is an American Christian metal band formed in 1992 and based in San Diego, California. The band's line-up consists of drummer and rhythm guitarist Wuv Bernardo, vocalist Sonny Sandoval, bassist Traa Daniels, and lead guitarist Marcos Curiel. They have sold over 12 million records worldwide. Over the course of their career, the band has received three Grammy Award nominations, contributed to numerous motion picture soundtracks and toured internationally. With their third studio album, The Fundamental Elements of Southtown, they achieved their initial mainstream success; the album was certified platinum by the RIAA in 2000. Their following studio album, Satellite, continued the band's success with the singles, "Alive" and "Youth of the Nation", pushing it to go triple platinum.
History
Early years (1991–1993)
In 1991, friends Wuv Bernardo and Marcos Curiel engaged in jam sessions, with Bernardo playing the drums and Curiel covering guitar with no vocalist. Calling themselves Eschatos, they started playing at keg parties doing Metallica and Slayer cover songs.
After his mother's fatal illness, Sonny Sandoval converted to Christianity and was asked by Bernardo, his cousin, to join the band as a way to keep his mind straight as mentioned on their DVD, Still Payin' Dues. They then recruited bassist Gabe Portillo and eventually changed their name to P.O.D.
Snuff the Punk and Brown (1994–1998)
After recording a demo tape, Traa Daniels joined the band in 1994 when they needed a bassist for some shows to replace Portillo. P.O.D. signed with Rescue Records, a label created by Bernardo's father, Noah Bernardo Sr., who was also the band's first manager. Between 1994 and 1997, they released three albums under the label, Snuff the Punk, Brown and Payable on Death Live. Longtime manager Tim Cook was first introduced to the band when he booked them to play his club The Where-House in Bartlesville, Oklahoma following strong local word of mouth support. He later described their performance by saying: "I stood at the back of the venue with tears in my eyes – it was the greatest thing I had ever seen." By that point, Bernardo Sr. was looking for someone else to take P.O.D.'s career further and so Cook took over as manager.
Shortly after the release of Payable on Death Live, Essential Records offered P.O.D. a $100,000 recording contract, but on behalf of the band Sandoval told band manager Tim Cook to decline the offer because, "God has a bigger plan for P.O.D." When, in 1998, Atlantic Records A&R John Rubeli first came across P.O.D.'s demo he "didn't quite get it", as he later told HitQuarters. It was only when he saw them play live at The Roxy on the Sunset Strip and witnessed not just an enthusiastic audience singing every word but the center of a vibrant youth movement that he became convinced by the band. The band was quickly signed to a major-label deal. P.O.D. soon released The Warriors EP, a tribute EP to their loyal fans as a transitional album from Rescue Records to Atlantic Records.
The Fundamental Elements of Southtown and Satellite (1999–2002)
P.O.D.'s third studio album, 1999's The Fundamental Elements of Southtown, spawned the hits "Southtown" and "Rock the Party (Off the Hook)", which was their first video to reach No. 1 on MTV's Total Request Live. The song "School of Hard Knocks" was featured on the soundtrack for Little Nicky while both "Southtown" and "Rock the Party" appeared in the movie. All three music videos endured heavy play on MTV2 and the songs were rock radio hits. The album went on to become RIAA certified platinum.
On September 11, 2001 P.O.D. released their fourth studio album, Satellite. The album's first single, "Alive", went on to become one of MTV's and MTV2's top played videos of the year. The video's popularity, as well as the song's positive message, helped the song become a huge modern rock radio hit and it was Grammy nominated for Best Hard Rock Performance in 2002. Also in 2002, the band contributed the song "America" to Santana's album Shaman.
The album's second single, "Youth of the Nation", was influenced in part by the school shootings at Santana High School, Columbine High School, and Granite Hills High School. It was Grammy nominated for Best Hard Rock Performance in 2003. The 2002 singles, "Boom" and "Satellite", also became quite popular. In addition, the concluding track of the album, "Portrait," was Grammy nominated for Best Metal Performance in 2003. It was used in the comedy film Here Comes the Boom, starring Kevin James.
Satellite went on to become RIAA-certified triple platinum. The author of Encyclopedia of Contemporary Christian Music has described P.O.D. as "One of the biggest success stories in recent Christian music."
Payable on Death and Testify (2003–2006)
On February 19, 2003, guitarist Curiel left the band due to his side project, The Accident Experiment, and "spiritual differences." However, Curiel claimed that he was actually kicked out of the band. Curiel was replaced by Jason Truby, former member of Christian metal band Living Sacrifice, and assisted with the recording of "Sleeping Awake", from The Matrix Reloaded soundtrack. In an interview with Yahoo! Music, Sandoval stated that Truby is the reason why the group is still together. On November 4, 2003, P.O.D. released their fifth studio album, Payable on Death, which saw the group shift from their well-known rapcore sound to a darker, more melodic metal sound. The album was hit with controversy due to its "occult" cover, which led as many as 85% of Christian bookstores across the United States to ban the album. With the help of the album's hit single "Will You" and "Change the World", it went on to sell over 520,000 copies and was certified Gold. Sometime after the tsunami in Asia, many singers, musicians, and actors/actresses, including Sandoval and Bernardo, participated in the recording of, "Forever in Our Hearts", with all proceeds going to benefit the tsunami relief.
P.O.D.'s sixth studio album Testify was slated for a December 2005 release, but was pushed back to January 24, 2006. On November 15, 2005, P.O.D. released The Warriors EP, Volume 2, which featured demos from the upcoming album, to help build up the fans' anticipation for the pending January release. The album's first single, "Goodbye for Now" (with a vocal tag by a then-unknown Katy Perry) went on to become a No. 1 video on MTV's TRL, along with having a solid radio presence, it also became the band's unprecedented 4th number one video on Total Request Live. The second single off the album, "Lights Out" was a minor hit, but was featured as the official theme song to WWE's Survivor Series 2005. In another contribution to WWE, they performed fellow San Diego native Rey Mysterio's theme song "Booyaka 619" at WrestleMania 22. To promote their latest album, P.O.D. went on a nationwide tour called the "Warriors Tour 2: Guilty by Association", which began in April, and included the bands Pillar, The Chariot and Maylene and the Sons of Disaster.
On August 11, 2006, P.O.D. announced in their online newsletter that they had left Atlantic Records.
On September 16, 2006, P.O.D. announced that they had teamed up with Rhino Records to release a greatest hits record simply titled, Greatest Hits: The Atlantic Years, which was released on November 21, 2006. They shot a music video for their single "Going In Blind", one of the two new songs they included in the tenth album, and they had meetings with various record labels to begin working on new material for an album they hoped to release in mid-2007.
When Angels & Serpents Dance (2007–2009)
In a statement made by the band's manager on their MySpace page, it was officially announced, on December 30, 2006, that Jason Truby had left the band. They had said "God worked it out because Truby decided to leave the band the same day Curiel asked to rejoin." Curiel performed with the band for the first time since his departure on the 2006 New Year's Eve episode of Jimmy Kimmel Live!.
On February 2, 2007, the band made a new record deal with INO Records.
On June 1, 2007, at the Rockbox in San Diego, the band performed and revealed a new song entitled "Condescending", along with another new song performed on June 16, 2007, at the Journeys Backyard BBQ tour entitled "Addicted". They also revealed the title of their new album to be When Angels & Serpents Dance. On August 4, 2007, the band played at Angel Stadium of Anaheim's annual Harvest Crusade for a crowd of 42,000, where they revealed a new song, "I'll Be Ready", originally thought to be titled "When Babylon Come for I".
The album cover was officially revealed on December 10, 2007. The title track was released for free download on their site in January 2008. The first single "Addicted" was released on February 19 and peaked at No. 30 on the Mainstream Rock chart. The album was released on April 8, 2008, entitled When Angels & Serpents Dance. On July 28, 2008, the group played a free public performance at the Orange County Choppers headquarters in Newburgh, NY, with OCC The Band opening. The band also played on August 16, 2008, at the Angel Stadium of Anaheim's annual Harvest Crusade. During September 2008 P.O.D played alongside Redline, Behind Crimson Eyes, Alter Bridge, and Disturbed as part of the Music As a Weapon tour 2008 in Australia.
Murdered Love (2010–2013)
The band headlined the first annual Spring Jam Fest in May 2011. They appeared on the Rock of Allegiance tour later that summer. On July 25, 2011, the band released a demo of the song "On Fire" as a free download on their official website.
In October 2011, P.O.D. announced a multi-album artist deal with Razor & Tie. On April 5, 2012, the song "Eyez" became a free download on the band's website for a limited time. Shortly after, an article on their website stated that "Lost in Forever" would be the first single from the new album, entitled Murdered Love.
Murdered Love was originally going to be released in June 2012, but was instead pushed back to July 10. The album was produced by Howard Benson, who also produced Satellite and The Fundamental Elements of Southtown. It was described by Curiel as "Back to our roots. A little bit of hip hop, a little bit of punk rock, or reggae". The album caused controversy concerning its eleventh track, "I Am", which uses the word "fuck" (albeit backmasked). Sandoval, explaining the purpose of the song, said, "being up close and personal with these kids, that's what came out in that song. I'm a man of faith and I'm a follower and a believer of Jesus Christ, and in talking to these kids, and even in talking to people just throughout my career in P.O.D., a lot of these bands and athletes and all these people that you meet, they don't have a problem with Jesus. They have a problem with people that are religious and claim to know Jesus, but aren't living it or acting it and aren't loving the way Jesus did. In my faith, if I believe that Jesus paid for the sins of the world, and I'm all these things, this is what's going on in the real world, and do you still love someone like me? And even though I know you do, and I believe in you, I believe in your forgiveness and your grace and your mercy, there's still so much confusion around me that everybody's getting in the way and trying to take your place. Everything gets in my way from seeing who Jesus was...We had that song for almost a year, and I didn't take it lightly. I'd been praying on it for over a year. I'd actually took counsel and let people hear it. And it was 50/50. Some people are like, you know what, go for it. Because my heart is like, I don't write music for Christians. I don't write music for people that I believe are saved and going to heaven. If it's a breath of you and encourages you and gives you a sense of power to go balls out for what you believe in, then by all means. But ultimately we're trying to reach people fed up with religion that are sick and tired of it, and people that are in the real world that really are lost and confused. Our music has always been a tool to bring hope to those people. I'm sorry we can't please everybody in the church, but ultimately in our faith, I believe you're taken care of. There are a lot of people that live in the real world that are out on the streets, that are prostituting themselves, that are being sexually abused, that are being murdered and killed, and it's an evil world. And sometimes you've got to just give them the truth flat out. And it might offend some people. Might offend a lot of people. But at the end of the day, if they understand it and they get it, and they allow God to speak straight into their soul, then I think it's worth the slap on the hand." The band went on tour with Shinedown and Three Days Grace as an opening act.
In a 2012 interview with Broken Records Magazine, Sandoval said that the band had to get their lives back in order and take care of personal needs before getting back into music, but was extremely happy about the response the band was getting from fans.
On October 22, 2013, P.O.D. released a deluxe edition of Murdered Love. The album contains the original songs, slightly remixed, along with bonus tracks "Find a Way", "Burn It Down", acoustic versions of "Beautiful" and "West Coast Rock Steady", a remixed version of "On Fire", and music videos for "Murdered Love", "Beautiful", "Higher", and "Lost In Forever". Multiple behind the scenes videos were also on the track list.
SoCal Sessions, The Awakening and Circles (2014–present)
In mid-2014, P.O.D. announced an acoustic album to be released toward the end of the year. The album was crowd-funded on the website PledgeMusic. On October 20, 2014, P.O.D. announced a new record deal with T-Boy Records along with a new acoustic album. SoCal Sessions was released on November 17, 2014, and contained songs such as "Alive" and "Youth of the Nation".
The band followed that release with another studio album, The Awakening, released on August 21, 2015, which was produced by Howard Benson, with guest vocalists such as Maria Brink of In This Moment and Lou Koller of Sick of It All.
On May 17, 2016, the band announced that they would be taking part in the Make America Rock Again super tour throughout the summer and fall 2016. The tour featured a number of artists who had success throughout the 2000s.
On August 18, 2017, the band released a new song, "Soundboy Killa", and embarked on a fall tour promoting the song.
In January 2018, it was announced that the band had signed a new record deal with Mascot Records. They toured alongside Alien Ant Farm, Lit, and Buckcherry on the "Gen-X Tour" in 2018. Their tenth studio album, Circles, was released on November 16, 2018.
Their band were scheduled to start their Satellite Album 20th Anniversary tour in Sturgis, South Dakota at Buffalo Chip on August 14, 2021, and end on October 7, 2021, at the House of Blues in San Diego, California.
Musical style and influences
The band's name, Payable on Death (P.O.D.), derives itself from the banking term "Payable on Death". The band chose this name to be a direct tie in with the Christian theology that explains that since Jesus died on the Cross, Christians' debts to God have been paid for; in other words all believers, in their acceptance that Jesus was sacrificed for them on God's behalf, have inherited eternal life. P.O.D.'s style has evolved over the years, from the rap metal sound on their early albums to the nu metal and reggae-infused alternative metal styles for which they're most well known. The band's seventh album, When Angels & Serpents Dance, is a combination of alternative rock, reggae rock and Latin-influenced metal with almost none of the rap metal or nu metal sound of their older releases. P.O.D.'s influences include Boogie Down Productions, Run-DMC, U2, the Police, Bad Brains, Santana, Metallica, AC/DC, Suicidal Tendencies, Bob Marley, Primus, Earth, Wind & Fire, 24-7 Spyz, and Steel Pulse.
Band members
Current members
Wuv Bernardo − drums, rhythm guitar, backing vocals (1992–present)
Sonny Sandoval − lead vocals (1992–present)
Traa Daniels − bass, backing vocals (1993–present)
Marcos Curiel − lead guitar, programming, backing vocals (1992–2003, 2006–present)
Former members
Gabe Portillo − bass, backing vocals (1992–1993)
Jason Truby − lead guitar, backing vocals <small>(Living Sacrifice) (2003–2006)
Former touring musicians
Tim Pacheco – backing vocals, percussion, trumpet, keyboards (2006)
Luis Castillo – keyboards, backing vocals, percussion (2011–2016)
Sameer Bhattacharya – keyboards, backing vocals (2016–2018)
Jonny Beats – drums (February – March 2019, October – November 2019)
Timeline
Discography
Snuff the Punk (1994)
Brown (1996)
The Fundamental Elements of Southtown (1999)
Satellite (2001)
Payable on Death (2003)
Testify (2006)
When Angels & Serpents Dance (2008)
Murdered Love (2012)
SoCal Sessions (2014)
The Awakening (2015)
Circles (2018)
Awards
American Music Awards
2003 - Favorite Contemporary Inspirational Artist (nomination)
Echo Awards
2003 - International Alternative Group of the Year
San Diego Music Awards
1999 - Best Hard Rock Artist
2000 - Best Hard Rock Artist
Note: Album- and single-specific awards and nominations are listed under their respective articles.
References
External links
American alternative metal musical groups
American Christian metal musical groups
Atlantic Records artists
Christian alternative metal groups
Christian rock groups from California
Hard rock musical groups from California
Musical groups established in 1992
Musical groups from San Diego
Musical quartets
Nu metal musical groups from California
Rapcore groups
P.O.D.
Razor & Tie artists
| true |
[
"\"Boat Drinks\" is a song written and performed by American popular music singer-songwriter Jimmy Buffett. It was released as a B-side (b/w \"Survive\") on MCA in 1979. Despite not being a single, it is one of his most popular songs, frequently played in concert and occasionally on the radio.\n\nA commercial for Play FLA USA scratch-off game was noted to sound like an instrumental version of \"Boat Drinks\", which Buffett had not given permission for any musical licensing to the Florida Lottery. Communications specialist Kathy Wilson and a Buffett spokeswoman both later confirmed that the two songs may have sounded similar due to their \"fun-in-the-sun-type\" styles, but they were technically greatly different from one another.\n\nHistory\nThe song was written in February 1979, while Jimmy was homesick in Boston. In the 1992 box set Boats, Beaches, Bars & Ballads, Buffett writes:\n\nLive Appearances\nThe song appeared on Live at Fenway Park, where Buffett said: \"I'm not going to come to Boston and not play this song.\" This is his only song written in Boston. While the song has been played in concert ever since it was written in 1979, it did not appear on a live release until 2005's Live in Hawaii.\n\nNotes\n\n1979 songs\nJimmy Buffett songs\nSongs written by Jimmy Buffett",
"Salima Mourad or Salima Murad (; 2 February 1900 – 28 January 1974) was a well-known Iraqi Jewish singer and was well known and highly respected in the Arab world. She was given the nickname \"Pasha\" by the Iraqi Prime Minister Nuri al-Said.\n\nSalima was dubbed by Umm Kulthum as the most famous woman singer, since the early 1930s. She was also the wife of a very successful Iraqi singer and actor, Nazem Al-Ghazali. Even after the bulk of Iraqi Jews left Iraq, Salima continued to live there until her death in 1974.\n\nDespite the popularity of her music in the Arab world, her music only ever had a small following in Israel, as state-run Israeli radio did not typically play music in the Arabic style due to a preference by the political leadership for Western music.\n\nReferences\n\nExternal links\n \n \n\n1905 births\n1974 deaths\nPeople from Baghdad\nIraqi Jews\n20th-century Iraqi women singers\nJewish singers"
] |
[
"P.O.D.",
"When Angels & Serpents Dance (2007-2009)",
"Did anyone ever leave the band?",
"it was officially announced, on December 30, 2006, that Jason Truby had left the band.",
"What happened in February 2007?",
"!. On February 2, 2007 the band made a new record deal with INO Records.",
"When did \"When Angels & Serpents Dance\" release?",
"The album was released on April 8, 2008",
"Did they ever play live music in 2007?",
"On June 1, 2007, at the Rockbox in San Diego, the band performed"
] |
C_90f470d2620e491f9950476e828090d1_1
|
Did they perform anymore in 2007?
| 5 |
Did P.O.D. perform anymore in 2007?
|
P.O.D.
|
In a statement made by the band's manager on their MySpace page, it was officially announced, on December 30, 2006, that Jason Truby had left the band. They had said "God worked it out because Truby decided to leave the band the same day Curiel asked to rejoin." Curiel performed with the band for the first time since his departure on the 2006 New Year's Eve episode of Jimmy Kimmel Live!. On February 2, 2007 the band made a new record deal with INO Records. On June 1, 2007, at the Rockbox in San Diego, the band performed and revealed a new song entitled "Condescending", along with another new song performed on June 16, 2007, at the Journeys Backyard BBQ tour entitled "Addicted". They also revealed the title of their new album to be When Angels & Serpents Dance. On August 4, 2007, the band played at Angel Stadium of Anaheim's annual Harvest Crusade where they revealed a new song entitled "I'll Be Ready", originally thought to be entitled "When Babylon Come For I," for a crowd of 42,000. The album cover was officially revealed on December 10, 2007. The title track was released for free download on their site in January 2008. The first single "Addicted" was released on February 19 and peaked at No. 30 on the Mainstream Rock chart. The album was released on April 8, 2008 entitled When Angels & Serpents Dance. On July 28, 2008, the group played a free public performance at the Orange County Choppers headquarters in Newburgh, NY, with OCC The Band opening. The band also played on August 16, 2008 at the Angel Stadium of Anaheim's annual Harvest Crusade. During September 2008 P.O.D played alongside Redline, Behind Crimson Eyes, Alter Bridge and Disturbed as part of the Music As a Weapon tour 2008 in Australia. CANNOTANSWER
|
On August 4, 2007, the band played at Angel Stadium of Anaheim's annual Harvest Crusade
|
Payable on Death is an American Christian metal band formed in 1992 and based in San Diego, California. The band's line-up consists of drummer and rhythm guitarist Wuv Bernardo, vocalist Sonny Sandoval, bassist Traa Daniels, and lead guitarist Marcos Curiel. They have sold over 12 million records worldwide. Over the course of their career, the band has received three Grammy Award nominations, contributed to numerous motion picture soundtracks and toured internationally. With their third studio album, The Fundamental Elements of Southtown, they achieved their initial mainstream success; the album was certified platinum by the RIAA in 2000. Their following studio album, Satellite, continued the band's success with the singles, "Alive" and "Youth of the Nation", pushing it to go triple platinum.
History
Early years (1991–1993)
In 1991, friends Wuv Bernardo and Marcos Curiel engaged in jam sessions, with Bernardo playing the drums and Curiel covering guitar with no vocalist. Calling themselves Eschatos, they started playing at keg parties doing Metallica and Slayer cover songs.
After his mother's fatal illness, Sonny Sandoval converted to Christianity and was asked by Bernardo, his cousin, to join the band as a way to keep his mind straight as mentioned on their DVD, Still Payin' Dues. They then recruited bassist Gabe Portillo and eventually changed their name to P.O.D.
Snuff the Punk and Brown (1994–1998)
After recording a demo tape, Traa Daniels joined the band in 1994 when they needed a bassist for some shows to replace Portillo. P.O.D. signed with Rescue Records, a label created by Bernardo's father, Noah Bernardo Sr., who was also the band's first manager. Between 1994 and 1997, they released three albums under the label, Snuff the Punk, Brown and Payable on Death Live. Longtime manager Tim Cook was first introduced to the band when he booked them to play his club The Where-House in Bartlesville, Oklahoma following strong local word of mouth support. He later described their performance by saying: "I stood at the back of the venue with tears in my eyes – it was the greatest thing I had ever seen." By that point, Bernardo Sr. was looking for someone else to take P.O.D.'s career further and so Cook took over as manager.
Shortly after the release of Payable on Death Live, Essential Records offered P.O.D. a $100,000 recording contract, but on behalf of the band Sandoval told band manager Tim Cook to decline the offer because, "God has a bigger plan for P.O.D." When, in 1998, Atlantic Records A&R John Rubeli first came across P.O.D.'s demo he "didn't quite get it", as he later told HitQuarters. It was only when he saw them play live at The Roxy on the Sunset Strip and witnessed not just an enthusiastic audience singing every word but the center of a vibrant youth movement that he became convinced by the band. The band was quickly signed to a major-label deal. P.O.D. soon released The Warriors EP, a tribute EP to their loyal fans as a transitional album from Rescue Records to Atlantic Records.
The Fundamental Elements of Southtown and Satellite (1999–2002)
P.O.D.'s third studio album, 1999's The Fundamental Elements of Southtown, spawned the hits "Southtown" and "Rock the Party (Off the Hook)", which was their first video to reach No. 1 on MTV's Total Request Live. The song "School of Hard Knocks" was featured on the soundtrack for Little Nicky while both "Southtown" and "Rock the Party" appeared in the movie. All three music videos endured heavy play on MTV2 and the songs were rock radio hits. The album went on to become RIAA certified platinum.
On September 11, 2001 P.O.D. released their fourth studio album, Satellite. The album's first single, "Alive", went on to become one of MTV's and MTV2's top played videos of the year. The video's popularity, as well as the song's positive message, helped the song become a huge modern rock radio hit and it was Grammy nominated for Best Hard Rock Performance in 2002. Also in 2002, the band contributed the song "America" to Santana's album Shaman.
The album's second single, "Youth of the Nation", was influenced in part by the school shootings at Santana High School, Columbine High School, and Granite Hills High School. It was Grammy nominated for Best Hard Rock Performance in 2003. The 2002 singles, "Boom" and "Satellite", also became quite popular. In addition, the concluding track of the album, "Portrait," was Grammy nominated for Best Metal Performance in 2003. It was used in the comedy film Here Comes the Boom, starring Kevin James.
Satellite went on to become RIAA-certified triple platinum. The author of Encyclopedia of Contemporary Christian Music has described P.O.D. as "One of the biggest success stories in recent Christian music."
Payable on Death and Testify (2003–2006)
On February 19, 2003, guitarist Curiel left the band due to his side project, The Accident Experiment, and "spiritual differences." However, Curiel claimed that he was actually kicked out of the band. Curiel was replaced by Jason Truby, former member of Christian metal band Living Sacrifice, and assisted with the recording of "Sleeping Awake", from The Matrix Reloaded soundtrack. In an interview with Yahoo! Music, Sandoval stated that Truby is the reason why the group is still together. On November 4, 2003, P.O.D. released their fifth studio album, Payable on Death, which saw the group shift from their well-known rapcore sound to a darker, more melodic metal sound. The album was hit with controversy due to its "occult" cover, which led as many as 85% of Christian bookstores across the United States to ban the album. With the help of the album's hit single "Will You" and "Change the World", it went on to sell over 520,000 copies and was certified Gold. Sometime after the tsunami in Asia, many singers, musicians, and actors/actresses, including Sandoval and Bernardo, participated in the recording of, "Forever in Our Hearts", with all proceeds going to benefit the tsunami relief.
P.O.D.'s sixth studio album Testify was slated for a December 2005 release, but was pushed back to January 24, 2006. On November 15, 2005, P.O.D. released The Warriors EP, Volume 2, which featured demos from the upcoming album, to help build up the fans' anticipation for the pending January release. The album's first single, "Goodbye for Now" (with a vocal tag by a then-unknown Katy Perry) went on to become a No. 1 video on MTV's TRL, along with having a solid radio presence, it also became the band's unprecedented 4th number one video on Total Request Live. The second single off the album, "Lights Out" was a minor hit, but was featured as the official theme song to WWE's Survivor Series 2005. In another contribution to WWE, they performed fellow San Diego native Rey Mysterio's theme song "Booyaka 619" at WrestleMania 22. To promote their latest album, P.O.D. went on a nationwide tour called the "Warriors Tour 2: Guilty by Association", which began in April, and included the bands Pillar, The Chariot and Maylene and the Sons of Disaster.
On August 11, 2006, P.O.D. announced in their online newsletter that they had left Atlantic Records.
On September 16, 2006, P.O.D. announced that they had teamed up with Rhino Records to release a greatest hits record simply titled, Greatest Hits: The Atlantic Years, which was released on November 21, 2006. They shot a music video for their single "Going In Blind", one of the two new songs they included in the tenth album, and they had meetings with various record labels to begin working on new material for an album they hoped to release in mid-2007.
When Angels & Serpents Dance (2007–2009)
In a statement made by the band's manager on their MySpace page, it was officially announced, on December 30, 2006, that Jason Truby had left the band. They had said "God worked it out because Truby decided to leave the band the same day Curiel asked to rejoin." Curiel performed with the band for the first time since his departure on the 2006 New Year's Eve episode of Jimmy Kimmel Live!.
On February 2, 2007, the band made a new record deal with INO Records.
On June 1, 2007, at the Rockbox in San Diego, the band performed and revealed a new song entitled "Condescending", along with another new song performed on June 16, 2007, at the Journeys Backyard BBQ tour entitled "Addicted". They also revealed the title of their new album to be When Angels & Serpents Dance. On August 4, 2007, the band played at Angel Stadium of Anaheim's annual Harvest Crusade for a crowd of 42,000, where they revealed a new song, "I'll Be Ready", originally thought to be titled "When Babylon Come for I".
The album cover was officially revealed on December 10, 2007. The title track was released for free download on their site in January 2008. The first single "Addicted" was released on February 19 and peaked at No. 30 on the Mainstream Rock chart. The album was released on April 8, 2008, entitled When Angels & Serpents Dance. On July 28, 2008, the group played a free public performance at the Orange County Choppers headquarters in Newburgh, NY, with OCC The Band opening. The band also played on August 16, 2008, at the Angel Stadium of Anaheim's annual Harvest Crusade. During September 2008 P.O.D played alongside Redline, Behind Crimson Eyes, Alter Bridge, and Disturbed as part of the Music As a Weapon tour 2008 in Australia.
Murdered Love (2010–2013)
The band headlined the first annual Spring Jam Fest in May 2011. They appeared on the Rock of Allegiance tour later that summer. On July 25, 2011, the band released a demo of the song "On Fire" as a free download on their official website.
In October 2011, P.O.D. announced a multi-album artist deal with Razor & Tie. On April 5, 2012, the song "Eyez" became a free download on the band's website for a limited time. Shortly after, an article on their website stated that "Lost in Forever" would be the first single from the new album, entitled Murdered Love.
Murdered Love was originally going to be released in June 2012, but was instead pushed back to July 10. The album was produced by Howard Benson, who also produced Satellite and The Fundamental Elements of Southtown. It was described by Curiel as "Back to our roots. A little bit of hip hop, a little bit of punk rock, or reggae". The album caused controversy concerning its eleventh track, "I Am", which uses the word "fuck" (albeit backmasked). Sandoval, explaining the purpose of the song, said, "being up close and personal with these kids, that's what came out in that song. I'm a man of faith and I'm a follower and a believer of Jesus Christ, and in talking to these kids, and even in talking to people just throughout my career in P.O.D., a lot of these bands and athletes and all these people that you meet, they don't have a problem with Jesus. They have a problem with people that are religious and claim to know Jesus, but aren't living it or acting it and aren't loving the way Jesus did. In my faith, if I believe that Jesus paid for the sins of the world, and I'm all these things, this is what's going on in the real world, and do you still love someone like me? And even though I know you do, and I believe in you, I believe in your forgiveness and your grace and your mercy, there's still so much confusion around me that everybody's getting in the way and trying to take your place. Everything gets in my way from seeing who Jesus was...We had that song for almost a year, and I didn't take it lightly. I'd been praying on it for over a year. I'd actually took counsel and let people hear it. And it was 50/50. Some people are like, you know what, go for it. Because my heart is like, I don't write music for Christians. I don't write music for people that I believe are saved and going to heaven. If it's a breath of you and encourages you and gives you a sense of power to go balls out for what you believe in, then by all means. But ultimately we're trying to reach people fed up with religion that are sick and tired of it, and people that are in the real world that really are lost and confused. Our music has always been a tool to bring hope to those people. I'm sorry we can't please everybody in the church, but ultimately in our faith, I believe you're taken care of. There are a lot of people that live in the real world that are out on the streets, that are prostituting themselves, that are being sexually abused, that are being murdered and killed, and it's an evil world. And sometimes you've got to just give them the truth flat out. And it might offend some people. Might offend a lot of people. But at the end of the day, if they understand it and they get it, and they allow God to speak straight into their soul, then I think it's worth the slap on the hand." The band went on tour with Shinedown and Three Days Grace as an opening act.
In a 2012 interview with Broken Records Magazine, Sandoval said that the band had to get their lives back in order and take care of personal needs before getting back into music, but was extremely happy about the response the band was getting from fans.
On October 22, 2013, P.O.D. released a deluxe edition of Murdered Love. The album contains the original songs, slightly remixed, along with bonus tracks "Find a Way", "Burn It Down", acoustic versions of "Beautiful" and "West Coast Rock Steady", a remixed version of "On Fire", and music videos for "Murdered Love", "Beautiful", "Higher", and "Lost In Forever". Multiple behind the scenes videos were also on the track list.
SoCal Sessions, The Awakening and Circles (2014–present)
In mid-2014, P.O.D. announced an acoustic album to be released toward the end of the year. The album was crowd-funded on the website PledgeMusic. On October 20, 2014, P.O.D. announced a new record deal with T-Boy Records along with a new acoustic album. SoCal Sessions was released on November 17, 2014, and contained songs such as "Alive" and "Youth of the Nation".
The band followed that release with another studio album, The Awakening, released on August 21, 2015, which was produced by Howard Benson, with guest vocalists such as Maria Brink of In This Moment and Lou Koller of Sick of It All.
On May 17, 2016, the band announced that they would be taking part in the Make America Rock Again super tour throughout the summer and fall 2016. The tour featured a number of artists who had success throughout the 2000s.
On August 18, 2017, the band released a new song, "Soundboy Killa", and embarked on a fall tour promoting the song.
In January 2018, it was announced that the band had signed a new record deal with Mascot Records. They toured alongside Alien Ant Farm, Lit, and Buckcherry on the "Gen-X Tour" in 2018. Their tenth studio album, Circles, was released on November 16, 2018.
Their band were scheduled to start their Satellite Album 20th Anniversary tour in Sturgis, South Dakota at Buffalo Chip on August 14, 2021, and end on October 7, 2021, at the House of Blues in San Diego, California.
Musical style and influences
The band's name, Payable on Death (P.O.D.), derives itself from the banking term "Payable on Death". The band chose this name to be a direct tie in with the Christian theology that explains that since Jesus died on the Cross, Christians' debts to God have been paid for; in other words all believers, in their acceptance that Jesus was sacrificed for them on God's behalf, have inherited eternal life. P.O.D.'s style has evolved over the years, from the rap metal sound on their early albums to the nu metal and reggae-infused alternative metal styles for which they're most well known. The band's seventh album, When Angels & Serpents Dance, is a combination of alternative rock, reggae rock and Latin-influenced metal with almost none of the rap metal or nu metal sound of their older releases. P.O.D.'s influences include Boogie Down Productions, Run-DMC, U2, the Police, Bad Brains, Santana, Metallica, AC/DC, Suicidal Tendencies, Bob Marley, Primus, Earth, Wind & Fire, 24-7 Spyz, and Steel Pulse.
Band members
Current members
Wuv Bernardo − drums, rhythm guitar, backing vocals (1992–present)
Sonny Sandoval − lead vocals (1992–present)
Traa Daniels − bass, backing vocals (1993–present)
Marcos Curiel − lead guitar, programming, backing vocals (1992–2003, 2006–present)
Former members
Gabe Portillo − bass, backing vocals (1992–1993)
Jason Truby − lead guitar, backing vocals <small>(Living Sacrifice) (2003–2006)
Former touring musicians
Tim Pacheco – backing vocals, percussion, trumpet, keyboards (2006)
Luis Castillo – keyboards, backing vocals, percussion (2011–2016)
Sameer Bhattacharya – keyboards, backing vocals (2016–2018)
Jonny Beats – drums (February – March 2019, October – November 2019)
Timeline
Discography
Snuff the Punk (1994)
Brown (1996)
The Fundamental Elements of Southtown (1999)
Satellite (2001)
Payable on Death (2003)
Testify (2006)
When Angels & Serpents Dance (2008)
Murdered Love (2012)
SoCal Sessions (2014)
The Awakening (2015)
Circles (2018)
Awards
American Music Awards
2003 - Favorite Contemporary Inspirational Artist (nomination)
Echo Awards
2003 - International Alternative Group of the Year
San Diego Music Awards
1999 - Best Hard Rock Artist
2000 - Best Hard Rock Artist
Note: Album- and single-specific awards and nominations are listed under their respective articles.
References
External links
American alternative metal musical groups
American Christian metal musical groups
Atlantic Records artists
Christian alternative metal groups
Christian rock groups from California
Hard rock musical groups from California
Musical groups established in 1992
Musical groups from San Diego
Musical quartets
Nu metal musical groups from California
Rapcore groups
P.O.D.
Razor & Tie artists
| true |
[
"\"Anymore\" is a song performed by English group Goldfrapp from their seventh studio album Silver Eye (2017). It was released as a CD single and digital download on 23 January 2017 through Mute Records. The song was written and produced by Alison Goldfrapp and William Owen Gregory, with additional production coming from The Haxan Cloak and John Congleton. The song incorporates several genres, including dance-pop, electronica and synth-pop, and takes influence from disco and glitch music. Critics noticed similarities between \"Anymore\" and the music from their 2003 album Black Cherry. Lyrically, Goldfrapp sings in robotic vocals about romance, which one critic felt referenced their 2005 single \"Ooh La La\".\n\nCritically, \"Anymore\" drew a generally positive response from music critics. Several reviewers noted the strength of the single as an album opener on Silver Eye. However, some critics found the track to be mediocre when compared with Goldfrapp's previous material. An accompanying music video for the song directed by Mary Calderwell was released on 9 February 2017 and filmed on the island of Fuerteventura. Featuring Alison Goldfrapp and a group of background dancers, they perform various choreography in the desert amidst an empty background. The accompanying videos for Goldfrapp's later singles from Silver Eye serve as a continuation of the one for \"Anymore\".\n\nBackground and release \n\"Anymore\" was released on 23 January 2017 as the lead single from Goldfrapp's seventh studio album Silver Eye (2017). A CD single featuring the radio edit and album version of the song was also released exclusively in the United Kingdom. It was written and produced by members Alison Goldfrapp and William Owen Gregory with The Haxan Cloak and John Congleton serving as additional producers.\n\nOn 24 February 2017, Mute Records issued a digital EP that included four remixes of \"Anymore\" created by disc jockeys Danny Dove and Joe Goddard. While creating the mixes, Goddard claimed that he was inspired by the music of LFO and Supermayer in order to create \"tense and chaotic\" remixes of the single. Referring to Goddard's remixes of the song, David Renshaw from The Fader called Goldfrapp's vocals \"haunting\" and the reworked song a \"taut and powerful techno workout\".\n\nComposition and lyrics \n\"Anymore\" is a dance-pop and electronica song that features Goldfrapp's signature \"pop-leaning vocals\". In addition, it has also been described by Vanyalands Michael Marotta as a synth-pop song that takes influence from the disco and glitch genres, which Eugenie Johnson from DIY considered as the group cementing their position in the \"electronic territory\". Regarding the vocals, PopMatters Steve Horowitz considered them \"light\" when surrounded by a rhythm consisting of \"harder industrial sounds\"; Paul Carr from the same publication noted that Goldfrapp returned to an electroclash sound with \"Anymore\", also pointing out their use of synths on the track. Agreeing with Horowitz's analysis of it being \"industrial\", Chris White of musicOMH noted its dance rhythm stemming from a \"pulsating, industrial beat\". Anna Gaca from Spin compared its dance-styled production to the group's 2003 album Black Cherry and early Madonna songs. In a similar claim, Under the Radars Matt Raven felt it resembled their albums Black Cherry and Supernature (2005). The \"boomeranging riffs and whistles\" found in the song's production was compared to those created by William Orbit for Madonna's 1998 song \"Ray of Light\" by Gaca.\n\nIn the lyrics, Goldfrapp and Gregory write about the passion found in romance and love; the former sings, \"I want your love / All of the time\" during a \"slippery bass synth\" sound in the production. Opening the song, she demands, \"You're what I want / You're what I need / Give me your love / Make me a freak\". Goldfrapp sings with robotic, or \"android\"-like, vocals and moans, \"Ooh, connect me / Ooh, to the other side\". The aforementioned lyrics were also considered similar to the ones in their 2005 song \"Ooh La La\".\n\nCritical reception \nUpon release, \"Anymore\" received a mixed to positive response from music critics. Several critics noted that the track serves as a strong opener for Silver Eye. David Chiu from Consequence of Sound described the song as an \"outstanding opening track\" for \"fans who have been waiting for Goldfrapp to somehow get back to their dance club roots\". Agreeing, Daryl Easlea, writing for Record Collector, labelled it as the \"perfect opener\". In the album review for Silver Eye, AllMusic's Heather Phares claimed that \"Anymore\" was a \"quintessential\" track and noted how the duo tends to open their albums in similar manners. A group of critics from PopMatters reviewed the recording in their \"Singles Going Steady\" column; Adriane Pontecorvo from the publication stated that although it \"isn't breaking any barriers\", it \"makes no apologies\" and \"promises a good time\". Chris Ingalls thought similarly and said, \"'Anymore' won't change your life, but it'll get stuck in your head for the better part of the morning\". And finally, Andrew Paschal was more mixed to the track, awarding it five out of ten stars, and claiming that the track is \"fun\" but overall found it to be too predictable.\n\nMusic video \nA music video for \"Anymore\" was released on 9 February 2017. It was produced by Mary Calderwell and filmed on Fuerteventura. In the clip, Goldfrapp and a group of female dancers perform choreography in the desert; according to Ben Kaye from Consequence of Sound, the setting of the video \"evokes a strange anxiety\" in the viewer due to the \"emptiness\" of the surroundings. Spins Gaca also reviewed the song's video and claimed that it \"could easily double as an avant-garde couture campaign\". The official music video for \"Systemagic\", the second single from the parent album, also uses the same dancers from the \"Anymore\" music video but in a \"decidedly less sunny\" setting.\n\nTrack listings and formats \n\nDigital download\n \"Anymore\" – 3:54\n\nRemixes digital EP\n \"Anymore\" (Joe Goddard Remix Edit) – 3:29\n \"Anymore\" (Danny Dove Remix Edit) – 3:32\n \"Anymore\" (Joe Goddard Remix) – 6:13\n \"Anymore\" (Danny Dove Remix) – 5:48\n\nUnited Kingdom CD\n \"Anymore\" (Radio Edit) – 3:24\n \"Anymore\" (Album Version) – 3:54\n\n\"Systemagic\" / \"Anymore\" (Remixes Pt. 1)\n \"Systemagic\" (Hannah Holland Remix) – 7:34\n \"Anymore\" (Ralphi Rosario Tek Vocal Mix) – 7:01\n\n\"Systemagic\" / \"Anymore\" (Remixes Pt. 2)\n \"Systemagic\" (Ralphi Rosario Lunar Eclipse Mix) – 6:58\n \"Anymore\" (Whatever/Whatever Remix by Justin Strauss & Bryan Mette) – 7:54\n\nCharts\n\nReferences\n\nExternal links \n \n\n2017 singles\n2017 songs\nGoldfrapp songs\nSongs written by Alison Goldfrapp\nSongs written by Will Gregory\nMute Records singles\nSong recordings produced by John Congleton",
"\"I Don't Believe in If Anymore\" is a song by British singer-songwriter Roger Whittaker, released as a single in March 1970. It peaked at number 8 on the UK Singles Chart. After the success of \"The Last Farewell\" in 1975, the song was re-released.\n\nTrack listings \n7\": Columbia / DB 8664 (1970)\n \"I Don't Believe in If Anymore\" – 3:18\n \"Lullaby for My Love (Berceuse pour Mon Amour)\" – 2:36\n\n7\": RCA Victor / 74-0355 (1970, US & Canada)\n \"I Don't Believe in If Anymore\" – 3:30\n \"I Should Have Taken My Time\" – 2:55\n\n7\": RCA Victor / PB-10356 (1975, US & Canada)\n \"I Don't Believe in If Anymore\" – 3:18\n \"New World in the Morning\" – 2:26\n\n7\": EMI / EMI-10898 (1975, Australia)\n \"I Don't Believe in If Anymore\" – 3:15\n \"Emily\" – 3:30\n\nCharts\n\nReferences \n\n1970 songs\n1970 singles\nRoger Whittaker songs\nColumbia Records singles\nRCA Victor singles"
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"Principalía",
"Pre-colonial principalities"
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C_c1ee7385a1ee4040be0107324666c2b9_1
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What were the pre-colonial princibalities?
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What were the pre-colonial principalities?
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Principalía
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From the beginning of the colonial period in the Philippine, the Spanish government built on the traditional pre-conquest socio-political organization of the barangay and co-opted the traditional indigenous princes and their nobles, thereby ruling indirectly. The barangays in some coastal places in Panay, Manila, Cebu, Jolo, and Butuan, with cosmopolitan cultures and trade relations with other countries in Asia, were already established principalities (Kinadatuan) before the coming of the Spaniards. In other regions, even though the majority of these barangays were not large settlements, yet they had organized societies dominated by the same type of recognized aristocracy and lordships (with birthright claim to allegiance from followers), as those found in more established, richer and more developed principalities. The aristocratic group in these pre-colonial societies was called the datu class. Its members were presumably the descendants of the first settlers on the land or, in the case of later arrivals, of those who were datus at the time of migration or conquest. The duty of the datus was to rule and govern their subjects and followers, and to assist them in their interests and necessities. What the chiefs received from their followers was: to be held by them in great veneration and respect; and they were served in their wars and voyages, and in their tilling, sowing, fishing, and the building of their houses. The natives attended to these duties very promptly, whenever summoned by their chief. They also paid their chief tribute (which they called buwis) in varying quantities, in the crops that they gathered. The descendants of such chiefs, and their relatives, even though they did not inherit the Lordship, were held in the same respect and consideration, and were all regarded as nobles and as persons exempt from the services rendered by the others, or the plebeians (timawas). The same right of nobility and chieftainship was preserved for the women, just as for the men. Some of these principalities and lordships have remained, even until the present, in unHispanicized and mostly Lumad and Muslim parts of the Philippines, in some regions of Mindanao. CANNOTANSWER
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From the beginning of the colonial period in the Philippine, the Spanish government built on the traditional pre-conquest socio-political organization of the barangay
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The principalía or noble class was the ruling and usually educated upper class in the pueblos of the Spanish Philippines, comprising the Gobernadorcillo, who was later referred to as Capitán Municipal (who had functions similar to a town mayor), El Teniente de Justicia (Lieutenants of Justice), and the Cabezas de Barangay (heads of the barangays) who governed the districts, former Gobernadorcillos or Municipal Captains, and Municipal lieutenants in good standing during their term of office.
The distinction or status of being part of the principalía was originally a hereditary right. However, the royal decree of December 20, 1863 (signed in the name of Queen Isabella II by the Minister of the Colonies, José de la Concha), made possible the creation of new principales under certain defined criteria, among which was the proficiency in the Castilian language. Later, wider conditions that define the principalía were stipulated in the norms provided by the Maura Law of 1893, which were never changed until Spain lost the Philippines to the United States in 1898. The Law also redefined the reference to the head of municipal government in the Spanish Philippines from Gobernadorcillo to Capitán Municipal, and extended the distinction as principales to citizens paying 50 pesos in land tax.
Prior to the Maura Law, this distinguished upper class included only those exempted from tribute (tax) to the Spanish crown. Colonial documents would refer to them as "de privilegio y gratis", in contrast to those who pay tribute ("de pago"). It was the true aristocracy and the true nobility of the Spanish Philippines, which could be roughly comparable to the patrician class in Ancient Rome. The principales (members of the principalía) traced their origin to the precolonial Maginoo ruling class of the established kingdoms, rajahnates, confederacies, and principalities, as well as the lordships of the smaller, ancient social units called barangays in the Visayas, Luzon, and Mindanao. The members of this class enjoyed exclusive privileges: only the members of the principalía were allowed to vote, be elected to public office, and be bear the titles Don or Doña. The use of the honorific addresses "Don" and "Doña" was strictly limited to what many documents during the colonial period would refer to as "vecinas y vecinos distinguidos".
For the most part, the social privileges of the nobles were freely acknowledged as befitting their greater social responsibilities. The gobernadorcillo during that period received a nominal salary and was not provided government funds for public services. In fact, more often the gobernadorcillo had to maintain governance of his municipality by looking after the post office and the jailhouse, alongside managing public infrastructure, using personal resources.
Principales also provided assistance to parishes by helping in the construction of church buildings, and in the pastoral and religious activities of the clergy who, being usually among the few Spaniards in most colonial towns, had success in winning the goodwill of the natives. More often, the clergy were the sole representatives of Spain in many parts of the archipelago. Under the Patronato Real of the Spanish crown, these Spanish churchmen were also the king's de facto ambassadors, and promoters of the realm.
With the end of Spanish sovereignty over the Philippines after the Spanish–American War in 1898 and the introduction of a democratic, republican system during the American Occupation, the principalía and their descendants lost their legal authority and social privileges. Many were, however, able to integrate into the new socio-political structure, retaining some degree of influence and power.
Historical background
Pre-colonial principalities
From the beginning of the colonial period in the Philippine, the Spanish government built on the traditional preconquest sociopolitical organization of the barangay and coopted the traditional indigenous princes and their nobles, thereby ruling indirectly. Manila, Cebu, Jolo, and Butuan, with cosmopolitan cultures and trade relations with other countries in Asia, were already established principalities (Kinadatuan) before the coming of the Spaniards. In other regions, even though the majority of these barangays were not large settlements, yet they had organized societies dominated by the same type of recognized aristocracy and lordships (with birthright claim to allegiance from followers), as those found in more established, richer and more developed principalities. The aristocratic group in these precolonial societies was called the datu class. Its members were presumably the descendants of the first settlers on the land or, in the case of later arrivals, of those who were datus at the time of migration or conquest.
The duty of the datus was to rule and govern their subjects and followers, and to assist them in their interests and necessities. What the chiefs received from their followers was: to be held by them in great veneration and respect; and they were served in their wars and voyages, and in their tilling, sowing, fishing, and the building of their houses. The natives attended to these duties very promptly, whenever summoned by their chief. They also paid their chief tribute (which they called buwis) in varying quantities, in the crops that they gathered. The descendants of such chiefs, and their relatives, even though they did not inherit the Lordship, were held in the same respect and consideration, and were all regarded as nobles and as persons exempt from the services rendered by the others, or the plebeians (timawas). The same right of nobility and chieftainship was preserved for the women, just as for the men.
Some of these principalities and lordships have remained, even until the present, in unHispanicized and mostly Lumad and Muslim parts of the Philippines, in some regions of Mindanao.
Pre-colonial principalities in the Visayas
In more developed barangays in Visayas, e.g., Panay, Bohol and Cebu (which were never conquered by Spain but were incorporated into the Spanish sphere of influence as vassals by means of pacts, peace treaties, and reciprocal alliances), the datu class was at the top of a divinely sanctioned and stable social order in a territorial jurisdiction called in the local languages as Sakop or Kinadatuan (Kadatuan in ancient Malay; Kedaton in Javanese; and Kedatuan in many parts of modern Southeast Asia), which is elsewhere commonly referred to also as barangay. This social order was divided into three classes. The Kadatuan, which is also called Tumao (members of the Visayan datu class), were compared by the Boxer Codex to the titled lords (Señores de titulo) in Spain. As Agalon or Amo (lords), the datus enjoyed an ascribed right to respect, obedience, and support from their oripun (commoner) or followers belonging to the third order. These datus had acquired rights to the same advantages from their legal "timawa" or vassals (second order), who bind themselves to the datu as his seafaring warriors. "Timawas" paid no tribute, and rendered no agricultural labor. They had a portion of the datu's blood in their veins. The Boxer Codex calls these "timawas" knights and hidalgos. The Spanish conquistador, Miguel de Loarca, described them as "free men, neither chiefs nor slaves". In the late 1600s, the Spanish Jesuit priest Fr. Francisco Ignatio Alcina, classified them as the third rank of nobility (nobleza).
To maintain purity of bloodline, datus marry only among their kind, often seeking high ranking brides in other barangays, abducting them, or contracting brideprices in gold, slaves and jewelry. Meanwhile, the datus kept their marriageable daughters secluded for protection and prestige. These wellguarded and protected highborn women were called "binokot", the datus of pure descent (four generations) were called "potli nga datu" or "lubus nga datu", while a woman of noble lineage (especially the elderly) was addressed by the Visayans (of Panay) as "uray" (meaning: pure as gold), e.g., uray Hilway.
Pre-colonial principalities in the Tagalog region
The different type of culture prevalent in Luzon gave a less stable and more complex social structure to the precolonial Tagalog barangays of Manila, Pampanga and Laguna. Enjoying a more extensive commence than those in Visayas, having the influence of Bornean political contacts, and engaging in farming wet rice for a living, the Tagalogs were described by the Spanish Augustinian Friar Martin de Rada as more traders than warriors.
The more complex social structure of the Tagalogs was less stable during the arrival of the Spaniards because it was still in a process of differentiating.
Comparison
The Jesuit priest Francisco Colin made an attempt to give an approximate comparison of it with the Visayan social structure in the middle of the seventeenth century. The term datu or lakan, or apo refers to the chief, but the noble class to which the datu belonged or could come from was the maginoo class. One may be born a maginoo, but he could become a datu by personal achievement. In the Visayas, if the datu had the personality and economic means, he could retain and restrain competing peers, relatives, and offspring. The term timawa came into use in the social structure of the Tagalogs within just twenty years after the coming of the Spaniards. The term, however, was being applied to former alipin (third class) who have escaped bondage by payment, favor, or flight. The Tagalog timawas did not have the military prominence of the Visayan timawa. The warrior class in the Tagalog society was present only in Laguna, and they were called the maharlika class. At the early part of the Spanish regime, the number of their members who were coming to rent land from their datus was increasing.
Unlike the Visayan datus, the lakans and apos of Luzon could call all nonmaginoo subjects to work in the datu's fields or do all sorts of other personal labor. In the Visayas, only the oripuns were obliged to do that, and to pay tribute besides. The Tagalog who works in the datu's field did not pay him tribute, and could transfer their allegiance to another datu. The Visayan timawa neither paid tribute nor performed agricultural labor. In a sense, they were truly aristocrats. The Tagalog maharlika did not only work in his datu's field, but could also be required to pay his own rent. Thus, all nonmaginoo formed a common economic class in some sense, though this class had no designation.
The civilization of the precolonial societies in the Visayas, northern Mindanao, and Luzon were largely influenced by Hindu and Buddhist cultures. As such, the datus who ruled these principalities (such as Butuan, Cebu, Panay, Mindoro and Manila) also shared the many customs of royalties and nobles in southeast Asian territories (with Hindu and Buddhist cultures), especially in the way they used to dress and adorn themselves with gold and silk. The Boxer Codex bears testimony to this fact. The measure of the prince's possession of gold and slaves was proportionate to his greatness and nobility. The first westerners who came to the archipelago observed that there was hardly any "Indian" who did not possess chains and other articles of gold.
Filipino nobility during the colonial period
When the Spaniards expanded their dominion to the Americas and later on to the East Indies, they encountered different cultures that existed in these territories, which possessed different social structures (more or less complex) where as a common trait among them, there was a ruling class that held power and determined the destinies of peoples and territories under its control. These elites were those that the Spaniards discovered and conquered in the New World. It was these Spanish conquerors, using European terminology, who correlated the identity of classes of the pre-Hispanic elites, alongside with the royalty or with the nobility of Europe at the time according to appropriate categories, e.g., emperor, king, etc.
The thoughts of the more notable among them give useful insights on how the first European settlers regarded the rulers of Indians in the New World. Fray Bartolome de las Casas, for example, would argue that indigenous nobles were "(...) as Princes and Infantes like those of Castile." Juan de Matienzo, during his rule of Peru, said that the "Caciques, curacas and principales are the native princes of the Indians." In the Lexicon of Fray Domingo de Santo Tomás and Diego González Holguín as well as in the work of Ludovico Bertonio, several entries included were devoted to identify the pre-Hispanic society, comparing their old titles to those of their counterpart in the Iberian peninsula. The same approach to the local society in the East Indies was used by the Spaniards.
The principalía was the first estate of the four echelons of Filipino society at the time of contact with Europeans, as described by Fr. Juan de Plasencia, a pioneer Franciscan missionary in the Philippines. Loarca and the Canon Lawyer Antonio de Morga, who classified society into three estates (ruler, ruled, slave), also affirmed the preeminence of the principales. All members of this first estate (the datu class) were principales whether they were actually occupying positions to rule or not. The Real Academia Española defines Principal as, "A person or thing that holds first place in value or importance, and is given precedence and preference before others". This Spanish term best describes the first estate of the society in the archipelago, which the Europeans came in contact with. San Buenaventura's 1613 Dictionary of the Tagalog language defines three terms that clarify the concept of principalía:
Poon or Punò (chief, leader) – principal or head of a lineage.
Ginoo – a noble by lineage and parentage, family and descent.
Maguinoo – principal in lineage or parentage.
The Spanish term Señor (lord) is equated with all these three terms, which are distinguished from the nouveau riche imitators scornfully called maygintao (man with gold or hidalgo by wealth, and not by lineage). The first estate was the class that constituted a birthright aristocracy with claims to respect, obedience, and support from those of subordinate status.
Local nobility and the Laws of the Indies
After conquering Manila and making it the capital of the colonial government in 1571, Miguel Lopez de Legaspi noted that aside from the rulers of Cebu and of the capital, the other principales existing in the Archipelago were either heads or Datus of the barangays allied as nations; or tyrants, who were respected only by the law of the strongest. From this system of the law of the strongest sprung intestinal wars with which certain dominions annihilate one another. Attentive to these existing systems of government without stripping these ancient sovereigns of their legitimate rights, Legaspi demanded from these local rulers vassalage to the Spanish Crown. On 11 June 1594, shortly before confirming Legaspi's erection of Manila as a city on June 24 of the same year, King Philip II issued a Royal Decree institutionalizing the recognition of the rights and privileges of the local ruling class of the Philippines, which was later included in the codification of the Recopilación de las leyes de los reynos de Las Indias.
In Book VI, Title VII (dedicated to the caciques) of the Recopilación de las leyes de los reynos de Las Indias, (Laws of the Indies) there are three very interesting laws insofar as they determined the role that the caciques were to play in the Indian new social order under the colonial rule. With these laws, the Spanish Crown officially recognized the rights of these principales of pre-Hispanic origin. Specifically, Laws 1, 2 (dedicated to American territories) and; Law 16, instituted by Philip II, on 11 June 1594 which is similar to the previous two, with the main purpose of assuring that the principales of the Philippines would be treated well and be entrusted with some government charge. Likewise, this provision extended to the Filipino caciques all policies concerning the Indian caciques under the Spanish rule.
To implement a system of indirect rule in the Philippines, King Philip II ordered, through this law of 11 June 1594, that the honors and privileges of governing, which were previously enjoyed by the local royalty and nobility in formerly sovereign principalities who later accepted the catholic faith and became subject to him, should be retained and protected. He also ordered the Spanish governors in the Philippines to treat these native nobles well. The king further ordered that the natives should pay to these nobles the same respect that the inhabitants accorded to their local Lords before the conquest without prejudice to the things that pertain to the king himself or to the encomenderos.
The royal decree says: "It is not right that the Indian chiefs of Filipinas be in a worse condition after conversion; rather they should have such treatment that would gain their affection and keep them loyal, so that with the spiritual blessings that God has communicated to them by calling them to His true knowledge, the temporal blessings may be added, and they may live contentedly and comfortably. Therefore, we order the governors of those islands to show them good treatment and entrust them, in our name, with the government of the Indians, of whom they were formerly lords. In all else the governors shall see that the chiefs are benefited justly, and the Indians shall pay them something as a recognition, as they did during the period of their paganism, provided this is without prejudice to the tributes that are to be paid us, or to that which pertains to their encomenderos."
Through this law, the local Filipino nobles (under the supervision of the Spanish colonial officials) became encomenderos (trustees) also of the King of Spain, who ruled the country indirectly through these nobles. Corollary to this provision, all existing doctrines and laws regarding the Indian caciques were extended to Filipino principales. Their domains became selfruled tributary barangays of the Spanish Empire.
The system of indirect government helped in the pacification of the rural areas, and institutionalized the rule and role of an upper class, referred to as the "principalía" or the "principales", until the fall of the Spanish regime in the Philippines in 1898.
The Spanish dominion brought serious modifications to the life and economy of the indigenous society. The shift of emphasis to agriculture marginalized, weakened, and deprived the hildalgolike warriors of their significance in the barangays, especially in the traderaiding societies in the Visayas (which needed the Vikinglike services of the "timawas"). By the 1580s, many of these noblemen found themselves reduced to leasing land from their datus. Their military functions were eclipsed by farming. Whatever remained would quickly be disoriented, deflected, and destroyed by the superior military power of Spain.
By the end of the 16th century, any claim to Filipino royalty, nobility or hidalguía had disappeared into a homogenized, Hispanicized and Christianized nobility – the principalía. This remnant of the precolonial royal and noble families continued to rule their traditional domain until the end of the Spanish regime. However, there were cases when succession in leadership was also done through election of new leaders (cabezas de barangay), especially in provinces near the Manila where the ancient ruling families lost their prestige and role. It appears that proximity to the seat of colonial Government diminished their power and significance. In distant territories, where the central authority had less control and where order could be maintained without using coercive measures, hereditary succession was still enforced, until Spain lost the archipelago to the Americans. These distant territories remained patriarchal societies, where people retained great respect for the principalía.
Emergence of the mestizo class
The principalía was larger and more influential than the preconquest indigenous nobility. It helped create and perpetuate an oligarchic system in the Spanish colony for more than three hundred years,
serving as a link between the Spanish authorities and the local inhabitants.
The Spanish colonial government's prohibition for foreigners to own land in the Philippines contributed to the evolution of this form of oligarchy. In some provinces of the Philippines, many Spaniards and foreign merchants intermarried with the rich and landed MalayoPolynesian local nobilities. From these unions, a new cultural group was formed, the mestizo class. Their descendants emerged later to become an influential part of the government, and of the principalía.
The increase of population in the Archipelago, as well as the growing presence of Chinese and Mestizos also brought about social changes that necessitated the creation of new members of the principalía for these sectors of Filipino colonial society. In this regard, pertinent laws were promulgated, such as the above-mentioned royal decree issued on December 20, 1863 (signed in the name of Queen Isabella II by the Minister of the Colonies, José de la Concha), which indicate certain conditions for promotion to the principalía class, among others, the capacity to speak the Castilian language. The reform also paved way to the creation of authorities among the Chinese guilds in enclaves of big settlements like Manila, on condition that these leaders were Christianized. Furthermore, Chinese Gobernadorcillos were not given jurisdiction over municipal districts. Their jurisdiction was exceptional and they only exercised this over persons belonging to their guilds.
Royal Cedula of Charles II
The emergence of the mestizo class was a social phenomenon not localized in the Philippines, but was also very much present in the American continent.
On 22 March 1697, Charles II of Spain issued a Royal Cedula, related to this phenomenon. The Cedula gave distinctions to classes of persons in the social structure of the Crown Colonies, and defined the rights and privileges of colonial functionaries. In doing so, the Spanish Monarch touched another aspect of the colonial society, i.e., the status of indigenous nobles, extending to these indigenous nobles, as well as to their descendants, the preeminence and honors customarily attributed to the Hidalgos of Castile. The Royal Cedula stipulates:
"Bearing in mind the laws and orders issued by my Progenies, Their Majesties the Kings, and by myself, I order the good treatment, assistance, protection and defense of the native Indians of America, that they may be taken cared of, maintained, privileged and honored like all other vassals of my Crown and that, in the course of time, the trial and use of them stops. I feel that its timely implementation is very suitable for public good, for the benefit of the Indians and for the service of God and mine. That, consequently, with respect to the Indian mestizos, the Archbishops and Bishops of the Indias are charged by Article 7, Title VII, Book I of the Laws of the Indies, for ordaining priests, being attentive to the qualities and circumstances present, and if some mestizas ask to be religious, they (Bishops) shall give support to those whom they admit in monasteries and for vows. But in particular, with regard to the requirements for Indians in order to accede to ecclesiastical or secular, governmental, political and military positions, which all require purity of blood and, by its Statute, the condition of nobility, there is distinction between the Indians and mestizos, inasmuch as there is between the [1] descendants of the notable Indians called caciques, and [2] those who are issues of less notable Indian tributaries, who in their pagan state acknowledged vassalage. It is deemed that all preeminence and honors, customarily conferred on the Hijosdalgos of Castile, are to be attributed to the first and to their descendants, both ecclesiastical and secular; and that they can participate in any communities which, by their statutes require nobility; for it is established that these, in their heathenism, were nobles to whom their subordinates acknowledged vassalage and to whom tributes were paid. Such kind of nobility is still retained and acknowledged, keeping these as well as their privileges wherever possible, as recognized and declared by the whole section on the caciques, which is Title VII, Book VI of the Laws of the Indies, wherein for the sake of distinction, the subordinate Indians were placed under (these noble’s) dominion called «cacicazgo», transmissible from elder to elder, to their posteriority…"
The Royal Cedula was enforced in the Philippines and benefited many indigenous nobles. It can be seen very clearly and irrefutably that, during the colonial period, indigenous chiefs were equated with the Spanish Hidalgos, and the most resounding proof of the application of this comparison is the General Military Archive in Segovia, where the qualifications of "Nobility" (found in the Service Records) are attributed to those Filipinos who were admitted to the Spanish Military Academies and whose ancestors were caciques, encomenderos, notable Tagalogs, chieftains, governors or those who held positions in the municipal administration or government in all different regions of the large islands of the Archipelago, or of the many small islands of which it is composed. In the context of the ancient tradition and norms of Castilian nobility, all descendants of a noble are considered noble, regardless of fortune.
At the Real Academia de la Historia, there is also a substantial amount of records giving reference to the Philippine Islands, and while most part corresponds to the history of these islands, the Academia did not exclude among its documents the presence of many genealogical records. The archives of the Academia and its royal stamp recognized the appointments of hundreds of natives of the Philippines who, by virtue of their social position, occupied posts in the administration of the territories and were classified as "Nobles". The presence of these notables demonstrates the cultural concern of Spain in those Islands to prepare the natives and the collaboration of these in the government of the Archipelago. This aspect of Spanish rule in the Philippines appears much more strongly implemented than in the Americas. Hence in the Philippines, the local nobility, by reason of charge accorded to their social class, acquired greater importance than in the Indies of the New World.
Christianization under the Spanish Crown
With the recognition of the Spanish monarchs came the privilege of being addressed as Don or Doña. – a mark of esteem and distinction in Europe reserved for a person of noble or royal status during the colonial period. Other honors and high regard were also accorded to the Christianized Datus by the Spanish Empire. For example, the Gobernadorcillos (elected leader of the Cabezas de Barangay or the Christianized Datus) and Filipino officials of justice received the greatest consideration from the Spanish Crown officials. The colonial officials were under obligation to show them the honor corresponding to their respective duties. They were allowed to sit in the houses of the Spanish Provincial Governors, and in any other places. They were not left to remain standing. It was not permitted for Spanish Parish Priests to treat these Filipino nobles with less consideration.
The Gobernadorcillos exercised the command of the towns. They were Port Captains in coastal towns. They also had the rights and powers to elect assistants and several lieutenants and alguaciles, proportionate in number to the inhabitants of the town.
On the day on which the gobernadorcillo would take on government duties, his town would hold a grand celebration. A festive banquet would be offered in the municipal or city hall where he would occupy a seat, adorned by the coat of arms of Spain and with fanciful designs, if his social footing was of a respectable antiquity.
On holy days the town officials would go to the church, together in one group. The principalía and cuadrilleros (police patrol or assistance) formed two lines in front of the Gobernadorcillo. They would be preceded by a band playing the music as they process towards the church, where the Gobernadorcillo would occupy a seat in precedence among those of the chiefs or cabezas de barangay, who had benches of honor. After the mass, they would usually go to the parish rectory to pay their respects to the parish priest. Then, they would return to the tribunal (municipal hall or city hall) in the same order, and still accompanied by the band playing a loud double quick march called paso doble.
The gobernadorcillo was always accompanied by an alguacil or policia (police officer) whenever he went about the streets of his town.
Class symbols
At the later part of the Spanish period, this class of elite Christian landowners started to adopt a characteristic style of dress and carry regalia. They wore a distinctive type of salakot, a Philippine headdress commonly used in the archipelago since the precolonial period. Instead of the usual headgear made of rattan, of reeds called Nitó, or of various shells such as capiz shells, which common Filipinos would wear, the principales would use more prized materials like tortoise shell. The special salakot of the ruling upper class was often adorned with ornate capping spike crafted in metals of value like silver, or, at times, gold. This headgear was usually embossed also with precious metals and sometimes decorated with silver coins or pendants that hung around the rim.
It was mentioned earlier that the royalties and nobilities of the Pre-colonial societies in the Visayas, Northern Mindanao, and Luzon (Cebu, Bohol Panay, Mindoro and Manila) also shared the many customs of royalties and nobles in Southeast Asian territories (with Hindu and Buddhist cultures), especially in the generous use of gold and silk in their costumes, as the Boxer Codex demonstrate. The measure of the prince's possession of gold and slaves was proportionate to his greatness and nobility. When the Spaniards reached the shores of the Archipelago, they observed that there was hardly any "Indian" who did not possess chains and other articles of gold.
However, this way of dressing was slowly changed as colonial power took firmer grips of the local nobilities and finally ruled the Islands. By the middle of the 19th century, the Principalía's usual attire was black jacket, European trousers, salakot and colored (velvet) slippers. Many would even wear varnished shoes, such as high quality leather shoes. Their shirt was worn outside the trousers. Some sources say that the Spaniards did not allow the native Filipinos to tuck their shirts under their waistbands, nor were they allowed to have any pockets. It was said that the intention of the colonizers was to remind the natives that they remain indios regardless of the wealth and power they attain. It was a way for discriminating the natives from their Spanish overlords. The locals also used native fabrics of transparent appearance. It is believed that transparent, sheer fabric were mainly for discouraging the Indios from hiding any weapons under their shirts. However, the native nobles did not wish to be outdone in the appearance of their apparel. And so, they richly embroidered their shirts with somewhat baroque designs on delicate Piña fabric. This manner of sporting what originally was a European attire for men led the way to the development of the Barong, which later became the national costume for Filipino men.
Distinctive staffs of office were associated with the Filipino ruling class. The Gobernadorcillo would carry a tasseled cane (baston) decorated with precious metals, while his lieutenants would use some kind of wands referred to as "Vara (rama)". On occasions and ceremonies of greater solemnity, they would dress formally in frock coat and high crowned hat.
One distinctive status symbol of the Principalía families of the rural pueblos, which remain handed down to their descendants until the present time, is the ownership of a santo or religious statue. Principalía families in provinces were mostly hacienderos, who had the means and manpower to maintain and decorate carrozas or floats of sacred images, which are often processed during various religious occasions, most importantly the town fiesta and Holy Week. Those who were endowed with more material possessions and power would own images with ivory heads and hands, and crowned with gold or silver halos. From the 17th to the 19th century, Spanish missionaries established a system of sponsorship for religious images. Those who sponsored santos were called "camareros". The prestige associated to being camareros influenced the contemporary trend among well-to-do Filipino Catholic families to sponsor carrozas for processions organized during various religious festivities in the country.
Race and status
Although the principalía had many privileges, there were limitations to how much power they were entitled to under Spanish rule. A member of the principalía could never become the GovernorGeneral (Gobernador y Capitán General), nor could he become the provincial governor (alcalde mayor).Hypothetically, a member of the principalía could obtain the position of provincial governor if, for example, a noblewoman of the principalía married a Spanish man born in the Philippines (an Insular ) of an elevated social rank. In which case her children would be classified as white (or blanco). However, this did not necessarily give a guarantee that her sons would obtain the position of provincial governor. Being mestizos was not an assurance that they would be loyal enough to the Spanish crown. Such unquestionable allegiance was necessary for the colonizers in retaining control of the archipelago.
The children born of the union between the principales and the insulares, or better still, the peninsulares (a Spanish person born in Spain) are neither assured access to the highest position of power in the colony. Flexibility is known to have occurred in some cases, including that of Marcelo Azcárraga Palmero who even became interim Prime Minister of Spain on August 8, 1897, until October 4 of that same year. Azcárraga also went on to become Prime Minister of Spain again in two more separate terms of office. In 1904, he was granted Knighthood in the very exclusive Spanish chilvalric Order of the Golden Fleece — the only mestizo recipient of this prestigious award.
In the archipelago, however, most often ethnic segregation did put a stop to social mobility, even for members of the principalía – a thing that is normally expected in a colonial rule. It was not also common for principales to be too ambitious so as to pursue very strong desire for obtaining the office of Governor-General. For most part, it appears that the local nobles were inclined to be preoccupied with matters concerning their barangays and towns.
The town mayors received an annual salary of 24 pesos, which was nothing in comparison to the provincial governor's 1,600 pesos and the GovernorGeneral's 40,000 pesos. Even though the gobernadorcillo's salary was not subject to tax, it was not enough to carry out all the required duties expected of such a position. This explains why among the principales, those who had more wealth were likely to be elected to the office of gobernadorcillo (municipal governor).
Principales tend to marry those who belong to their class, to maintain wealth and power. However, unlike most European royalties who marry their close relatives, e.g. first cousins, for this purpose, Filipino nobles abhorred Incestuous unions. In some cases, members of the principalia married wealthy and nonnoble Chinese (Sangley) merchants, who made their fortune in the colony. Principales born of these unions had possibilities to be elected gobernadorcillo by their peers.
Wealth was not the only basis for intermarriage between the principales and foreigners, which were commonly prearranged by parents of the bride and groom. Neither did having a Spaniard as one of the parents of a child ennobles him. In a traditionally conservative Catholic environment with Christian mores and norms strictly imposed under the tutelage and prying eyes of Spanish friars, marriage to a divorcée or secondhand spouse (locally referred to as "tirá ng ibá", literally "others' leftovers") was scornfully disdained by Filipino aristocrats. Virgin brides were a must for the principalía, as well as for the Filipinos in general.
Children who were born outside of marriage, even of Spaniards, were not accepted in the circle of principales. These were severely ostracized in the conservative colonial society and were pejoratively called an "anák sa labás", i.e., "child from outside" (viz., outside marriage), a stigma that still remains part of the contemporary social mores.
During the last years of the regime, there were efforts to push for a representation of the archipelago in the Spanish Cortes among a good number of principales. This move was prevalent especially among those who have studied in Spain and other parts of Europe (Ilustrados). That initiative, however, was met with snobbery by the colonizers, who denied the natives of equal treatment, in any way possible.
Towards the end of the 19th century, civil unrest occurred more frequently. This situation was exposed by the writer and leader of the Propaganda Movement, José Rizal, in his two novels: Noli Me Tángere, and El Filibusterismo (dedicated to the three Filipino Catholic priests, who were executed on February 17, 1872, by Spanish colonial authorities, on charges of subversion arising from the 1872 Cavite mutiny). Because of this growing unrest that turned into an irreversible revolution, the position of provincial governor became awarded more and more often to the peninsulares. In the ecclesiastical sector, a decree was made, stating there were to be no further appointments of Filipinos as parish priests.
Status quaestionis
The recognition of the rights and privileges of the Filipino Principalía as equivalent to those of the Hidalgos of Castile appears to facilitate entrance of Filipino nobles into institutions under the Spanish Crown, either civil or religious, which required proofs of nobility. However, such approximation may not be entirely correct since in reality, although the principales were vassals of the Spanish Crown, their rights as sovereign in their former dominions were guaranteed by the Laws of the Indies, more particularly the Royal Decree of Philip II of 11 June 1594, which Charles II confirmed for the purpose stated above, to satisfy the requirements of the existing laws in the Peninsula.
From the beginning of the Spanish colonial period, the conquistador Miguel Lopez de Legaspi retained the hereditary rights of the local ancient sovereigns of the Archipelago who vowed allegiance to the Spanish Crown. Many of them accepted the Catholic religion and became Spanish allies at this time. He only demanded from these local rulers vassalage to the Spanish Crown, replacing the similar overlordship, which previously existed in a few cases, e.g., Sultanate of Brunei's overlordship of the Kingdom of Maynila. Other independent polities, which were not vassals to other States, e.g., Confederation of Madja-as and the Rajahnate of Cebu, were de facto Protectorates/Suzerainties having had alliances with the Spanish Crown before the Kingdom took total control of most parts of the Archipelago.
A question remains after the cessession of Spanish rule in the Philippines regarding any remaining rank equivalency of Filipino Principalía. Reassuming their ancestral titles as Datus while retaining the Hidalguía of Castile (their former protector state), as subsidiary title, is the logical consequence of the above-mentioned recognition by Charles II of Spain. As guaranteed by this Spanish Monarch's Royal Decree, the ancient nobility of the casiques within his realm (which includes the Filipino Principales) "is still retained and acknowledged".
Besides, the principales retained many of the ordinary obligations of local rulers as manifested in constructing local infrastructures and in maintaining the government offices without funds from Spain. Expenditures of the local government came from the private and personal resources of the principales. These were not taxes that citizens were obliged to pay as tributes required by their Spanish Crown from its subjects. In many ways, the principales retained much of the responsibilities, powers and obligations of the pre-colonial Datus – their predecessors, except for the right to organize their own armed forces. Only the right of Gobernadorcillos to appoint alguacils and "cuadrilleros" (police patrol or assistance) seem to point out to some kind of vestige of this pre-colonial sign of the Datu's coercive power and responsibility to defend his domain.
Like deposed royal families elsewhere in the world, which continue to claim hereditary rights as pretenders to the former thrones of their ancestors, the descendants of the Principalía have similar claims to the historical domains of their forebears.
See also
Filipino styles and honorifics
Gobernadorcillo
Cabeza de Barangay
Barangay state
Datu
Lakan
Maginoo
Maharlika
Timawa
Babaylan
History of the Philippines (1521–1898)
Confederation of Madja-as
Maragtas
Kingdom of Maynila
Kingdom of Namayan
Kingdom of Butuan
Rajahnate of Cebu
Sultanate of Maguindanao
Sultanate of Sulu
Confederation of Sultanates in Lanao
List of political families in the Philippines
Notes
Further reading
Luque Talaván, Miguel, Análisis Histórico-Jurídico de la Nobleza Indiana de Origen Prehispánico (Conferencia en la Escuela «Marqués de Aviles» de Genealogía, Heráldica y Nobiliaria de la «Asociación de Diplomados en Genealogía, Heráldica y Nobiliaria»).
Vicente de Cadenas y Vicent, Las Pruebas de Nobleza y Genealogia en Filipinas y Los Archivios en Donde se Pueden Encontrar Antecedentes de Ellas in Heraldica, Genealogia y Nobleza en los Editoriales de «Hidalguia», 1953–1993: 40 años de un pensamiento, Madrid: 1993, Graficas Ariás Montano, S.A.-MONTOLES, pp. 232–235.[8][8][8][8][8]
José Feced y Temprado, Manual del Gobernadorcillo en el Ejercicio de sus Atribuciones Judiciales y Escriturárias (Guia del Hombre de Negocios en Filipinas), Manila: 1867, Imp. de Ramirez y Giraudier.] Don José Feced y Temprado, Manual del Gobernadorcillo en el Ejercicio de sus Atribuciones Judiciales y Escriturárias (Guia del Hombre de Negocios en Filipinas), Manila: 1867, Imp. de Ramirez y Giraudier.
Rafael Moreno y Diez, Manual del Cabeza de Barangay en Castellano y en Tagalog, Manila: 1874, Imprenta "Amigos del Pais".
Regalado Trota Jose, The Many Images of Christ (particularly in the section: Spain retains the old class system) in DALISAY, Jose Y, ed. (1998), Kasaysayan: The Story of the Filipino People.
See also: Alfredo Reyes; CORDERO-FERNANDO, Gilda; QUIRINO, Carlos & GUTIERREZ, Manuel C, eds. Filipino Heritage: the Making of a Nation (10 vols), Manila: 1997, Lahing Pilipino Publications.
Celdrán Ruano, Julia, ed. (2009). La configuración del sistema jurídico hispano en las Islas Filipinas: orígenes y evolución (siglos XVI-XVIII) in Anales de Derecho, Vol. 27 (2009) (pdf) (in Español).
Jorge Alberto Liria Rodríguez, LA PECULIAR ADMINISTRACIÓNESPAÑOLA EN FILIPINAS (1890–1898), Las Palmas de Gran Canaria: Anroart, Asociación canaria para la difusión de la cultura y el arte , 2004.
Maura Law.
References
Honorary titles
History of the Philippines (1565–1898)
Captaincy General of the Philippines
Social class in the Philippines
People of Spanish colonial Philippines
Filipino nobility
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"The Kingdom of Luba or Luba Empire (1585–1889) was a pre-colonial Central African state that arose in the marshy grasslands of the Upemba Depression in what is now southern Congo.\n\nmuLopwe = Kings/emperors\n\nSee also\nCongo\nCongo, Democratic Republic of the\nPresidents of the Democratic Republic of the Congo\nHeads of government of the Democratic Republic of the Congo\nHeads of state of the Congo Free State\nColonial heads of Congo\nRulers of Katanga\nRulers of Kuba\nRulers of Ruund (Luunda)\nRulers of Kasongo Luunda (Yaka)\nRulers of Kongo\nCongo, Republic of the\nPresidents of the Republic of the Congo\nLists of office-holders\n\nLuba"
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"Principalía",
"Pre-colonial principalities",
"What were the pre-colonial princibalities?",
"From the beginning of the colonial period in the Philippine, the Spanish government built on the traditional pre-conquest socio-political organization of the barangay"
] |
C_c1ee7385a1ee4040be0107324666c2b9_1
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How did this affect the government?
| 2 |
How did the Spanish government building on the traditional pre-conquest socio-political organization of the barangay affect them?
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Principalía
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From the beginning of the colonial period in the Philippine, the Spanish government built on the traditional pre-conquest socio-political organization of the barangay and co-opted the traditional indigenous princes and their nobles, thereby ruling indirectly. The barangays in some coastal places in Panay, Manila, Cebu, Jolo, and Butuan, with cosmopolitan cultures and trade relations with other countries in Asia, were already established principalities (Kinadatuan) before the coming of the Spaniards. In other regions, even though the majority of these barangays were not large settlements, yet they had organized societies dominated by the same type of recognized aristocracy and lordships (with birthright claim to allegiance from followers), as those found in more established, richer and more developed principalities. The aristocratic group in these pre-colonial societies was called the datu class. Its members were presumably the descendants of the first settlers on the land or, in the case of later arrivals, of those who were datus at the time of migration or conquest. The duty of the datus was to rule and govern their subjects and followers, and to assist them in their interests and necessities. What the chiefs received from their followers was: to be held by them in great veneration and respect; and they were served in their wars and voyages, and in their tilling, sowing, fishing, and the building of their houses. The natives attended to these duties very promptly, whenever summoned by their chief. They also paid their chief tribute (which they called buwis) in varying quantities, in the crops that they gathered. The descendants of such chiefs, and their relatives, even though they did not inherit the Lordship, were held in the same respect and consideration, and were all regarded as nobles and as persons exempt from the services rendered by the others, or the plebeians (timawas). The same right of nobility and chieftainship was preserved for the women, just as for the men. Some of these principalities and lordships have remained, even until the present, in unHispanicized and mostly Lumad and Muslim parts of the Philippines, in some regions of Mindanao. CANNOTANSWER
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In other regions, even though the majority of these barangays were not large settlements, yet they had organized societies
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The principalía or noble class was the ruling and usually educated upper class in the pueblos of the Spanish Philippines, comprising the Gobernadorcillo, who was later referred to as Capitán Municipal (who had functions similar to a town mayor), El Teniente de Justicia (Lieutenants of Justice), and the Cabezas de Barangay (heads of the barangays) who governed the districts, former Gobernadorcillos or Municipal Captains, and Municipal lieutenants in good standing during their term of office.
The distinction or status of being part of the principalía was originally a hereditary right. However, the royal decree of December 20, 1863 (signed in the name of Queen Isabella II by the Minister of the Colonies, José de la Concha), made possible the creation of new principales under certain defined criteria, among which was the proficiency in the Castilian language. Later, wider conditions that define the principalía were stipulated in the norms provided by the Maura Law of 1893, which were never changed until Spain lost the Philippines to the United States in 1898. The Law also redefined the reference to the head of municipal government in the Spanish Philippines from Gobernadorcillo to Capitán Municipal, and extended the distinction as principales to citizens paying 50 pesos in land tax.
Prior to the Maura Law, this distinguished upper class included only those exempted from tribute (tax) to the Spanish crown. Colonial documents would refer to them as "de privilegio y gratis", in contrast to those who pay tribute ("de pago"). It was the true aristocracy and the true nobility of the Spanish Philippines, which could be roughly comparable to the patrician class in Ancient Rome. The principales (members of the principalía) traced their origin to the precolonial Maginoo ruling class of the established kingdoms, rajahnates, confederacies, and principalities, as well as the lordships of the smaller, ancient social units called barangays in the Visayas, Luzon, and Mindanao. The members of this class enjoyed exclusive privileges: only the members of the principalía were allowed to vote, be elected to public office, and be bear the titles Don or Doña. The use of the honorific addresses "Don" and "Doña" was strictly limited to what many documents during the colonial period would refer to as "vecinas y vecinos distinguidos".
For the most part, the social privileges of the nobles were freely acknowledged as befitting their greater social responsibilities. The gobernadorcillo during that period received a nominal salary and was not provided government funds for public services. In fact, more often the gobernadorcillo had to maintain governance of his municipality by looking after the post office and the jailhouse, alongside managing public infrastructure, using personal resources.
Principales also provided assistance to parishes by helping in the construction of church buildings, and in the pastoral and religious activities of the clergy who, being usually among the few Spaniards in most colonial towns, had success in winning the goodwill of the natives. More often, the clergy were the sole representatives of Spain in many parts of the archipelago. Under the Patronato Real of the Spanish crown, these Spanish churchmen were also the king's de facto ambassadors, and promoters of the realm.
With the end of Spanish sovereignty over the Philippines after the Spanish–American War in 1898 and the introduction of a democratic, republican system during the American Occupation, the principalía and their descendants lost their legal authority and social privileges. Many were, however, able to integrate into the new socio-political structure, retaining some degree of influence and power.
Historical background
Pre-colonial principalities
From the beginning of the colonial period in the Philippine, the Spanish government built on the traditional preconquest sociopolitical organization of the barangay and coopted the traditional indigenous princes and their nobles, thereby ruling indirectly. Manila, Cebu, Jolo, and Butuan, with cosmopolitan cultures and trade relations with other countries in Asia, were already established principalities (Kinadatuan) before the coming of the Spaniards. In other regions, even though the majority of these barangays were not large settlements, yet they had organized societies dominated by the same type of recognized aristocracy and lordships (with birthright claim to allegiance from followers), as those found in more established, richer and more developed principalities. The aristocratic group in these precolonial societies was called the datu class. Its members were presumably the descendants of the first settlers on the land or, in the case of later arrivals, of those who were datus at the time of migration or conquest.
The duty of the datus was to rule and govern their subjects and followers, and to assist them in their interests and necessities. What the chiefs received from their followers was: to be held by them in great veneration and respect; and they were served in their wars and voyages, and in their tilling, sowing, fishing, and the building of their houses. The natives attended to these duties very promptly, whenever summoned by their chief. They also paid their chief tribute (which they called buwis) in varying quantities, in the crops that they gathered. The descendants of such chiefs, and their relatives, even though they did not inherit the Lordship, were held in the same respect and consideration, and were all regarded as nobles and as persons exempt from the services rendered by the others, or the plebeians (timawas). The same right of nobility and chieftainship was preserved for the women, just as for the men.
Some of these principalities and lordships have remained, even until the present, in unHispanicized and mostly Lumad and Muslim parts of the Philippines, in some regions of Mindanao.
Pre-colonial principalities in the Visayas
In more developed barangays in Visayas, e.g., Panay, Bohol and Cebu (which were never conquered by Spain but were incorporated into the Spanish sphere of influence as vassals by means of pacts, peace treaties, and reciprocal alliances), the datu class was at the top of a divinely sanctioned and stable social order in a territorial jurisdiction called in the local languages as Sakop or Kinadatuan (Kadatuan in ancient Malay; Kedaton in Javanese; and Kedatuan in many parts of modern Southeast Asia), which is elsewhere commonly referred to also as barangay. This social order was divided into three classes. The Kadatuan, which is also called Tumao (members of the Visayan datu class), were compared by the Boxer Codex to the titled lords (Señores de titulo) in Spain. As Agalon or Amo (lords), the datus enjoyed an ascribed right to respect, obedience, and support from their oripun (commoner) or followers belonging to the third order. These datus had acquired rights to the same advantages from their legal "timawa" or vassals (second order), who bind themselves to the datu as his seafaring warriors. "Timawas" paid no tribute, and rendered no agricultural labor. They had a portion of the datu's blood in their veins. The Boxer Codex calls these "timawas" knights and hidalgos. The Spanish conquistador, Miguel de Loarca, described them as "free men, neither chiefs nor slaves". In the late 1600s, the Spanish Jesuit priest Fr. Francisco Ignatio Alcina, classified them as the third rank of nobility (nobleza).
To maintain purity of bloodline, datus marry only among their kind, often seeking high ranking brides in other barangays, abducting them, or contracting brideprices in gold, slaves and jewelry. Meanwhile, the datus kept their marriageable daughters secluded for protection and prestige. These wellguarded and protected highborn women were called "binokot", the datus of pure descent (four generations) were called "potli nga datu" or "lubus nga datu", while a woman of noble lineage (especially the elderly) was addressed by the Visayans (of Panay) as "uray" (meaning: pure as gold), e.g., uray Hilway.
Pre-colonial principalities in the Tagalog region
The different type of culture prevalent in Luzon gave a less stable and more complex social structure to the precolonial Tagalog barangays of Manila, Pampanga and Laguna. Enjoying a more extensive commence than those in Visayas, having the influence of Bornean political contacts, and engaging in farming wet rice for a living, the Tagalogs were described by the Spanish Augustinian Friar Martin de Rada as more traders than warriors.
The more complex social structure of the Tagalogs was less stable during the arrival of the Spaniards because it was still in a process of differentiating.
Comparison
The Jesuit priest Francisco Colin made an attempt to give an approximate comparison of it with the Visayan social structure in the middle of the seventeenth century. The term datu or lakan, or apo refers to the chief, but the noble class to which the datu belonged or could come from was the maginoo class. One may be born a maginoo, but he could become a datu by personal achievement. In the Visayas, if the datu had the personality and economic means, he could retain and restrain competing peers, relatives, and offspring. The term timawa came into use in the social structure of the Tagalogs within just twenty years after the coming of the Spaniards. The term, however, was being applied to former alipin (third class) who have escaped bondage by payment, favor, or flight. The Tagalog timawas did not have the military prominence of the Visayan timawa. The warrior class in the Tagalog society was present only in Laguna, and they were called the maharlika class. At the early part of the Spanish regime, the number of their members who were coming to rent land from their datus was increasing.
Unlike the Visayan datus, the lakans and apos of Luzon could call all nonmaginoo subjects to work in the datu's fields or do all sorts of other personal labor. In the Visayas, only the oripuns were obliged to do that, and to pay tribute besides. The Tagalog who works in the datu's field did not pay him tribute, and could transfer their allegiance to another datu. The Visayan timawa neither paid tribute nor performed agricultural labor. In a sense, they were truly aristocrats. The Tagalog maharlika did not only work in his datu's field, but could also be required to pay his own rent. Thus, all nonmaginoo formed a common economic class in some sense, though this class had no designation.
The civilization of the precolonial societies in the Visayas, northern Mindanao, and Luzon were largely influenced by Hindu and Buddhist cultures. As such, the datus who ruled these principalities (such as Butuan, Cebu, Panay, Mindoro and Manila) also shared the many customs of royalties and nobles in southeast Asian territories (with Hindu and Buddhist cultures), especially in the way they used to dress and adorn themselves with gold and silk. The Boxer Codex bears testimony to this fact. The measure of the prince's possession of gold and slaves was proportionate to his greatness and nobility. The first westerners who came to the archipelago observed that there was hardly any "Indian" who did not possess chains and other articles of gold.
Filipino nobility during the colonial period
When the Spaniards expanded their dominion to the Americas and later on to the East Indies, they encountered different cultures that existed in these territories, which possessed different social structures (more or less complex) where as a common trait among them, there was a ruling class that held power and determined the destinies of peoples and territories under its control. These elites were those that the Spaniards discovered and conquered in the New World. It was these Spanish conquerors, using European terminology, who correlated the identity of classes of the pre-Hispanic elites, alongside with the royalty or with the nobility of Europe at the time according to appropriate categories, e.g., emperor, king, etc.
The thoughts of the more notable among them give useful insights on how the first European settlers regarded the rulers of Indians in the New World. Fray Bartolome de las Casas, for example, would argue that indigenous nobles were "(...) as Princes and Infantes like those of Castile." Juan de Matienzo, during his rule of Peru, said that the "Caciques, curacas and principales are the native princes of the Indians." In the Lexicon of Fray Domingo de Santo Tomás and Diego González Holguín as well as in the work of Ludovico Bertonio, several entries included were devoted to identify the pre-Hispanic society, comparing their old titles to those of their counterpart in the Iberian peninsula. The same approach to the local society in the East Indies was used by the Spaniards.
The principalía was the first estate of the four echelons of Filipino society at the time of contact with Europeans, as described by Fr. Juan de Plasencia, a pioneer Franciscan missionary in the Philippines. Loarca and the Canon Lawyer Antonio de Morga, who classified society into three estates (ruler, ruled, slave), also affirmed the preeminence of the principales. All members of this first estate (the datu class) were principales whether they were actually occupying positions to rule or not. The Real Academia Española defines Principal as, "A person or thing that holds first place in value or importance, and is given precedence and preference before others". This Spanish term best describes the first estate of the society in the archipelago, which the Europeans came in contact with. San Buenaventura's 1613 Dictionary of the Tagalog language defines three terms that clarify the concept of principalía:
Poon or Punò (chief, leader) – principal or head of a lineage.
Ginoo – a noble by lineage and parentage, family and descent.
Maguinoo – principal in lineage or parentage.
The Spanish term Señor (lord) is equated with all these three terms, which are distinguished from the nouveau riche imitators scornfully called maygintao (man with gold or hidalgo by wealth, and not by lineage). The first estate was the class that constituted a birthright aristocracy with claims to respect, obedience, and support from those of subordinate status.
Local nobility and the Laws of the Indies
After conquering Manila and making it the capital of the colonial government in 1571, Miguel Lopez de Legaspi noted that aside from the rulers of Cebu and of the capital, the other principales existing in the Archipelago were either heads or Datus of the barangays allied as nations; or tyrants, who were respected only by the law of the strongest. From this system of the law of the strongest sprung intestinal wars with which certain dominions annihilate one another. Attentive to these existing systems of government without stripping these ancient sovereigns of their legitimate rights, Legaspi demanded from these local rulers vassalage to the Spanish Crown. On 11 June 1594, shortly before confirming Legaspi's erection of Manila as a city on June 24 of the same year, King Philip II issued a Royal Decree institutionalizing the recognition of the rights and privileges of the local ruling class of the Philippines, which was later included in the codification of the Recopilación de las leyes de los reynos de Las Indias.
In Book VI, Title VII (dedicated to the caciques) of the Recopilación de las leyes de los reynos de Las Indias, (Laws of the Indies) there are three very interesting laws insofar as they determined the role that the caciques were to play in the Indian new social order under the colonial rule. With these laws, the Spanish Crown officially recognized the rights of these principales of pre-Hispanic origin. Specifically, Laws 1, 2 (dedicated to American territories) and; Law 16, instituted by Philip II, on 11 June 1594 which is similar to the previous two, with the main purpose of assuring that the principales of the Philippines would be treated well and be entrusted with some government charge. Likewise, this provision extended to the Filipino caciques all policies concerning the Indian caciques under the Spanish rule.
To implement a system of indirect rule in the Philippines, King Philip II ordered, through this law of 11 June 1594, that the honors and privileges of governing, which were previously enjoyed by the local royalty and nobility in formerly sovereign principalities who later accepted the catholic faith and became subject to him, should be retained and protected. He also ordered the Spanish governors in the Philippines to treat these native nobles well. The king further ordered that the natives should pay to these nobles the same respect that the inhabitants accorded to their local Lords before the conquest without prejudice to the things that pertain to the king himself or to the encomenderos.
The royal decree says: "It is not right that the Indian chiefs of Filipinas be in a worse condition after conversion; rather they should have such treatment that would gain their affection and keep them loyal, so that with the spiritual blessings that God has communicated to them by calling them to His true knowledge, the temporal blessings may be added, and they may live contentedly and comfortably. Therefore, we order the governors of those islands to show them good treatment and entrust them, in our name, with the government of the Indians, of whom they were formerly lords. In all else the governors shall see that the chiefs are benefited justly, and the Indians shall pay them something as a recognition, as they did during the period of their paganism, provided this is without prejudice to the tributes that are to be paid us, or to that which pertains to their encomenderos."
Through this law, the local Filipino nobles (under the supervision of the Spanish colonial officials) became encomenderos (trustees) also of the King of Spain, who ruled the country indirectly through these nobles. Corollary to this provision, all existing doctrines and laws regarding the Indian caciques were extended to Filipino principales. Their domains became selfruled tributary barangays of the Spanish Empire.
The system of indirect government helped in the pacification of the rural areas, and institutionalized the rule and role of an upper class, referred to as the "principalía" or the "principales", until the fall of the Spanish regime in the Philippines in 1898.
The Spanish dominion brought serious modifications to the life and economy of the indigenous society. The shift of emphasis to agriculture marginalized, weakened, and deprived the hildalgolike warriors of their significance in the barangays, especially in the traderaiding societies in the Visayas (which needed the Vikinglike services of the "timawas"). By the 1580s, many of these noblemen found themselves reduced to leasing land from their datus. Their military functions were eclipsed by farming. Whatever remained would quickly be disoriented, deflected, and destroyed by the superior military power of Spain.
By the end of the 16th century, any claim to Filipino royalty, nobility or hidalguía had disappeared into a homogenized, Hispanicized and Christianized nobility – the principalía. This remnant of the precolonial royal and noble families continued to rule their traditional domain until the end of the Spanish regime. However, there were cases when succession in leadership was also done through election of new leaders (cabezas de barangay), especially in provinces near the Manila where the ancient ruling families lost their prestige and role. It appears that proximity to the seat of colonial Government diminished their power and significance. In distant territories, where the central authority had less control and where order could be maintained without using coercive measures, hereditary succession was still enforced, until Spain lost the archipelago to the Americans. These distant territories remained patriarchal societies, where people retained great respect for the principalía.
Emergence of the mestizo class
The principalía was larger and more influential than the preconquest indigenous nobility. It helped create and perpetuate an oligarchic system in the Spanish colony for more than three hundred years,
serving as a link between the Spanish authorities and the local inhabitants.
The Spanish colonial government's prohibition for foreigners to own land in the Philippines contributed to the evolution of this form of oligarchy. In some provinces of the Philippines, many Spaniards and foreign merchants intermarried with the rich and landed MalayoPolynesian local nobilities. From these unions, a new cultural group was formed, the mestizo class. Their descendants emerged later to become an influential part of the government, and of the principalía.
The increase of population in the Archipelago, as well as the growing presence of Chinese and Mestizos also brought about social changes that necessitated the creation of new members of the principalía for these sectors of Filipino colonial society. In this regard, pertinent laws were promulgated, such as the above-mentioned royal decree issued on December 20, 1863 (signed in the name of Queen Isabella II by the Minister of the Colonies, José de la Concha), which indicate certain conditions for promotion to the principalía class, among others, the capacity to speak the Castilian language. The reform also paved way to the creation of authorities among the Chinese guilds in enclaves of big settlements like Manila, on condition that these leaders were Christianized. Furthermore, Chinese Gobernadorcillos were not given jurisdiction over municipal districts. Their jurisdiction was exceptional and they only exercised this over persons belonging to their guilds.
Royal Cedula of Charles II
The emergence of the mestizo class was a social phenomenon not localized in the Philippines, but was also very much present in the American continent.
On 22 March 1697, Charles II of Spain issued a Royal Cedula, related to this phenomenon. The Cedula gave distinctions to classes of persons in the social structure of the Crown Colonies, and defined the rights and privileges of colonial functionaries. In doing so, the Spanish Monarch touched another aspect of the colonial society, i.e., the status of indigenous nobles, extending to these indigenous nobles, as well as to their descendants, the preeminence and honors customarily attributed to the Hidalgos of Castile. The Royal Cedula stipulates:
"Bearing in mind the laws and orders issued by my Progenies, Their Majesties the Kings, and by myself, I order the good treatment, assistance, protection and defense of the native Indians of America, that they may be taken cared of, maintained, privileged and honored like all other vassals of my Crown and that, in the course of time, the trial and use of them stops. I feel that its timely implementation is very suitable for public good, for the benefit of the Indians and for the service of God and mine. That, consequently, with respect to the Indian mestizos, the Archbishops and Bishops of the Indias are charged by Article 7, Title VII, Book I of the Laws of the Indies, for ordaining priests, being attentive to the qualities and circumstances present, and if some mestizas ask to be religious, they (Bishops) shall give support to those whom they admit in monasteries and for vows. But in particular, with regard to the requirements for Indians in order to accede to ecclesiastical or secular, governmental, political and military positions, which all require purity of blood and, by its Statute, the condition of nobility, there is distinction between the Indians and mestizos, inasmuch as there is between the [1] descendants of the notable Indians called caciques, and [2] those who are issues of less notable Indian tributaries, who in their pagan state acknowledged vassalage. It is deemed that all preeminence and honors, customarily conferred on the Hijosdalgos of Castile, are to be attributed to the first and to their descendants, both ecclesiastical and secular; and that they can participate in any communities which, by their statutes require nobility; for it is established that these, in their heathenism, were nobles to whom their subordinates acknowledged vassalage and to whom tributes were paid. Such kind of nobility is still retained and acknowledged, keeping these as well as their privileges wherever possible, as recognized and declared by the whole section on the caciques, which is Title VII, Book VI of the Laws of the Indies, wherein for the sake of distinction, the subordinate Indians were placed under (these noble’s) dominion called «cacicazgo», transmissible from elder to elder, to their posteriority…"
The Royal Cedula was enforced in the Philippines and benefited many indigenous nobles. It can be seen very clearly and irrefutably that, during the colonial period, indigenous chiefs were equated with the Spanish Hidalgos, and the most resounding proof of the application of this comparison is the General Military Archive in Segovia, where the qualifications of "Nobility" (found in the Service Records) are attributed to those Filipinos who were admitted to the Spanish Military Academies and whose ancestors were caciques, encomenderos, notable Tagalogs, chieftains, governors or those who held positions in the municipal administration or government in all different regions of the large islands of the Archipelago, or of the many small islands of which it is composed. In the context of the ancient tradition and norms of Castilian nobility, all descendants of a noble are considered noble, regardless of fortune.
At the Real Academia de la Historia, there is also a substantial amount of records giving reference to the Philippine Islands, and while most part corresponds to the history of these islands, the Academia did not exclude among its documents the presence of many genealogical records. The archives of the Academia and its royal stamp recognized the appointments of hundreds of natives of the Philippines who, by virtue of their social position, occupied posts in the administration of the territories and were classified as "Nobles". The presence of these notables demonstrates the cultural concern of Spain in those Islands to prepare the natives and the collaboration of these in the government of the Archipelago. This aspect of Spanish rule in the Philippines appears much more strongly implemented than in the Americas. Hence in the Philippines, the local nobility, by reason of charge accorded to their social class, acquired greater importance than in the Indies of the New World.
Christianization under the Spanish Crown
With the recognition of the Spanish monarchs came the privilege of being addressed as Don or Doña. – a mark of esteem and distinction in Europe reserved for a person of noble or royal status during the colonial period. Other honors and high regard were also accorded to the Christianized Datus by the Spanish Empire. For example, the Gobernadorcillos (elected leader of the Cabezas de Barangay or the Christianized Datus) and Filipino officials of justice received the greatest consideration from the Spanish Crown officials. The colonial officials were under obligation to show them the honor corresponding to their respective duties. They were allowed to sit in the houses of the Spanish Provincial Governors, and in any other places. They were not left to remain standing. It was not permitted for Spanish Parish Priests to treat these Filipino nobles with less consideration.
The Gobernadorcillos exercised the command of the towns. They were Port Captains in coastal towns. They also had the rights and powers to elect assistants and several lieutenants and alguaciles, proportionate in number to the inhabitants of the town.
On the day on which the gobernadorcillo would take on government duties, his town would hold a grand celebration. A festive banquet would be offered in the municipal or city hall where he would occupy a seat, adorned by the coat of arms of Spain and with fanciful designs, if his social footing was of a respectable antiquity.
On holy days the town officials would go to the church, together in one group. The principalía and cuadrilleros (police patrol or assistance) formed two lines in front of the Gobernadorcillo. They would be preceded by a band playing the music as they process towards the church, where the Gobernadorcillo would occupy a seat in precedence among those of the chiefs or cabezas de barangay, who had benches of honor. After the mass, they would usually go to the parish rectory to pay their respects to the parish priest. Then, they would return to the tribunal (municipal hall or city hall) in the same order, and still accompanied by the band playing a loud double quick march called paso doble.
The gobernadorcillo was always accompanied by an alguacil or policia (police officer) whenever he went about the streets of his town.
Class symbols
At the later part of the Spanish period, this class of elite Christian landowners started to adopt a characteristic style of dress and carry regalia. They wore a distinctive type of salakot, a Philippine headdress commonly used in the archipelago since the precolonial period. Instead of the usual headgear made of rattan, of reeds called Nitó, or of various shells such as capiz shells, which common Filipinos would wear, the principales would use more prized materials like tortoise shell. The special salakot of the ruling upper class was often adorned with ornate capping spike crafted in metals of value like silver, or, at times, gold. This headgear was usually embossed also with precious metals and sometimes decorated with silver coins or pendants that hung around the rim.
It was mentioned earlier that the royalties and nobilities of the Pre-colonial societies in the Visayas, Northern Mindanao, and Luzon (Cebu, Bohol Panay, Mindoro and Manila) also shared the many customs of royalties and nobles in Southeast Asian territories (with Hindu and Buddhist cultures), especially in the generous use of gold and silk in their costumes, as the Boxer Codex demonstrate. The measure of the prince's possession of gold and slaves was proportionate to his greatness and nobility. When the Spaniards reached the shores of the Archipelago, they observed that there was hardly any "Indian" who did not possess chains and other articles of gold.
However, this way of dressing was slowly changed as colonial power took firmer grips of the local nobilities and finally ruled the Islands. By the middle of the 19th century, the Principalía's usual attire was black jacket, European trousers, salakot and colored (velvet) slippers. Many would even wear varnished shoes, such as high quality leather shoes. Their shirt was worn outside the trousers. Some sources say that the Spaniards did not allow the native Filipinos to tuck their shirts under their waistbands, nor were they allowed to have any pockets. It was said that the intention of the colonizers was to remind the natives that they remain indios regardless of the wealth and power they attain. It was a way for discriminating the natives from their Spanish overlords. The locals also used native fabrics of transparent appearance. It is believed that transparent, sheer fabric were mainly for discouraging the Indios from hiding any weapons under their shirts. However, the native nobles did not wish to be outdone in the appearance of their apparel. And so, they richly embroidered their shirts with somewhat baroque designs on delicate Piña fabric. This manner of sporting what originally was a European attire for men led the way to the development of the Barong, which later became the national costume for Filipino men.
Distinctive staffs of office were associated with the Filipino ruling class. The Gobernadorcillo would carry a tasseled cane (baston) decorated with precious metals, while his lieutenants would use some kind of wands referred to as "Vara (rama)". On occasions and ceremonies of greater solemnity, they would dress formally in frock coat and high crowned hat.
One distinctive status symbol of the Principalía families of the rural pueblos, which remain handed down to their descendants until the present time, is the ownership of a santo or religious statue. Principalía families in provinces were mostly hacienderos, who had the means and manpower to maintain and decorate carrozas or floats of sacred images, which are often processed during various religious occasions, most importantly the town fiesta and Holy Week. Those who were endowed with more material possessions and power would own images with ivory heads and hands, and crowned with gold or silver halos. From the 17th to the 19th century, Spanish missionaries established a system of sponsorship for religious images. Those who sponsored santos were called "camareros". The prestige associated to being camareros influenced the contemporary trend among well-to-do Filipino Catholic families to sponsor carrozas for processions organized during various religious festivities in the country.
Race and status
Although the principalía had many privileges, there were limitations to how much power they were entitled to under Spanish rule. A member of the principalía could never become the GovernorGeneral (Gobernador y Capitán General), nor could he become the provincial governor (alcalde mayor).Hypothetically, a member of the principalía could obtain the position of provincial governor if, for example, a noblewoman of the principalía married a Spanish man born in the Philippines (an Insular ) of an elevated social rank. In which case her children would be classified as white (or blanco). However, this did not necessarily give a guarantee that her sons would obtain the position of provincial governor. Being mestizos was not an assurance that they would be loyal enough to the Spanish crown. Such unquestionable allegiance was necessary for the colonizers in retaining control of the archipelago.
The children born of the union between the principales and the insulares, or better still, the peninsulares (a Spanish person born in Spain) are neither assured access to the highest position of power in the colony. Flexibility is known to have occurred in some cases, including that of Marcelo Azcárraga Palmero who even became interim Prime Minister of Spain on August 8, 1897, until October 4 of that same year. Azcárraga also went on to become Prime Minister of Spain again in two more separate terms of office. In 1904, he was granted Knighthood in the very exclusive Spanish chilvalric Order of the Golden Fleece — the only mestizo recipient of this prestigious award.
In the archipelago, however, most often ethnic segregation did put a stop to social mobility, even for members of the principalía – a thing that is normally expected in a colonial rule. It was not also common for principales to be too ambitious so as to pursue very strong desire for obtaining the office of Governor-General. For most part, it appears that the local nobles were inclined to be preoccupied with matters concerning their barangays and towns.
The town mayors received an annual salary of 24 pesos, which was nothing in comparison to the provincial governor's 1,600 pesos and the GovernorGeneral's 40,000 pesos. Even though the gobernadorcillo's salary was not subject to tax, it was not enough to carry out all the required duties expected of such a position. This explains why among the principales, those who had more wealth were likely to be elected to the office of gobernadorcillo (municipal governor).
Principales tend to marry those who belong to their class, to maintain wealth and power. However, unlike most European royalties who marry their close relatives, e.g. first cousins, for this purpose, Filipino nobles abhorred Incestuous unions. In some cases, members of the principalia married wealthy and nonnoble Chinese (Sangley) merchants, who made their fortune in the colony. Principales born of these unions had possibilities to be elected gobernadorcillo by their peers.
Wealth was not the only basis for intermarriage between the principales and foreigners, which were commonly prearranged by parents of the bride and groom. Neither did having a Spaniard as one of the parents of a child ennobles him. In a traditionally conservative Catholic environment with Christian mores and norms strictly imposed under the tutelage and prying eyes of Spanish friars, marriage to a divorcée or secondhand spouse (locally referred to as "tirá ng ibá", literally "others' leftovers") was scornfully disdained by Filipino aristocrats. Virgin brides were a must for the principalía, as well as for the Filipinos in general.
Children who were born outside of marriage, even of Spaniards, were not accepted in the circle of principales. These were severely ostracized in the conservative colonial society and were pejoratively called an "anák sa labás", i.e., "child from outside" (viz., outside marriage), a stigma that still remains part of the contemporary social mores.
During the last years of the regime, there were efforts to push for a representation of the archipelago in the Spanish Cortes among a good number of principales. This move was prevalent especially among those who have studied in Spain and other parts of Europe (Ilustrados). That initiative, however, was met with snobbery by the colonizers, who denied the natives of equal treatment, in any way possible.
Towards the end of the 19th century, civil unrest occurred more frequently. This situation was exposed by the writer and leader of the Propaganda Movement, José Rizal, in his two novels: Noli Me Tángere, and El Filibusterismo (dedicated to the three Filipino Catholic priests, who were executed on February 17, 1872, by Spanish colonial authorities, on charges of subversion arising from the 1872 Cavite mutiny). Because of this growing unrest that turned into an irreversible revolution, the position of provincial governor became awarded more and more often to the peninsulares. In the ecclesiastical sector, a decree was made, stating there were to be no further appointments of Filipinos as parish priests.
Status quaestionis
The recognition of the rights and privileges of the Filipino Principalía as equivalent to those of the Hidalgos of Castile appears to facilitate entrance of Filipino nobles into institutions under the Spanish Crown, either civil or religious, which required proofs of nobility. However, such approximation may not be entirely correct since in reality, although the principales were vassals of the Spanish Crown, their rights as sovereign in their former dominions were guaranteed by the Laws of the Indies, more particularly the Royal Decree of Philip II of 11 June 1594, which Charles II confirmed for the purpose stated above, to satisfy the requirements of the existing laws in the Peninsula.
From the beginning of the Spanish colonial period, the conquistador Miguel Lopez de Legaspi retained the hereditary rights of the local ancient sovereigns of the Archipelago who vowed allegiance to the Spanish Crown. Many of them accepted the Catholic religion and became Spanish allies at this time. He only demanded from these local rulers vassalage to the Spanish Crown, replacing the similar overlordship, which previously existed in a few cases, e.g., Sultanate of Brunei's overlordship of the Kingdom of Maynila. Other independent polities, which were not vassals to other States, e.g., Confederation of Madja-as and the Rajahnate of Cebu, were de facto Protectorates/Suzerainties having had alliances with the Spanish Crown before the Kingdom took total control of most parts of the Archipelago.
A question remains after the cessession of Spanish rule in the Philippines regarding any remaining rank equivalency of Filipino Principalía. Reassuming their ancestral titles as Datus while retaining the Hidalguía of Castile (their former protector state), as subsidiary title, is the logical consequence of the above-mentioned recognition by Charles II of Spain. As guaranteed by this Spanish Monarch's Royal Decree, the ancient nobility of the casiques within his realm (which includes the Filipino Principales) "is still retained and acknowledged".
Besides, the principales retained many of the ordinary obligations of local rulers as manifested in constructing local infrastructures and in maintaining the government offices without funds from Spain. Expenditures of the local government came from the private and personal resources of the principales. These were not taxes that citizens were obliged to pay as tributes required by their Spanish Crown from its subjects. In many ways, the principales retained much of the responsibilities, powers and obligations of the pre-colonial Datus – their predecessors, except for the right to organize their own armed forces. Only the right of Gobernadorcillos to appoint alguacils and "cuadrilleros" (police patrol or assistance) seem to point out to some kind of vestige of this pre-colonial sign of the Datu's coercive power and responsibility to defend his domain.
Like deposed royal families elsewhere in the world, which continue to claim hereditary rights as pretenders to the former thrones of their ancestors, the descendants of the Principalía have similar claims to the historical domains of their forebears.
See also
Filipino styles and honorifics
Gobernadorcillo
Cabeza de Barangay
Barangay state
Datu
Lakan
Maginoo
Maharlika
Timawa
Babaylan
History of the Philippines (1521–1898)
Confederation of Madja-as
Maragtas
Kingdom of Maynila
Kingdom of Namayan
Kingdom of Butuan
Rajahnate of Cebu
Sultanate of Maguindanao
Sultanate of Sulu
Confederation of Sultanates in Lanao
List of political families in the Philippines
Notes
Further reading
Luque Talaván, Miguel, Análisis Histórico-Jurídico de la Nobleza Indiana de Origen Prehispánico (Conferencia en la Escuela «Marqués de Aviles» de Genealogía, Heráldica y Nobiliaria de la «Asociación de Diplomados en Genealogía, Heráldica y Nobiliaria»).
Vicente de Cadenas y Vicent, Las Pruebas de Nobleza y Genealogia en Filipinas y Los Archivios en Donde se Pueden Encontrar Antecedentes de Ellas in Heraldica, Genealogia y Nobleza en los Editoriales de «Hidalguia», 1953–1993: 40 años de un pensamiento, Madrid: 1993, Graficas Ariás Montano, S.A.-MONTOLES, pp. 232–235.[8][8][8][8][8]
José Feced y Temprado, Manual del Gobernadorcillo en el Ejercicio de sus Atribuciones Judiciales y Escriturárias (Guia del Hombre de Negocios en Filipinas), Manila: 1867, Imp. de Ramirez y Giraudier.] Don José Feced y Temprado, Manual del Gobernadorcillo en el Ejercicio de sus Atribuciones Judiciales y Escriturárias (Guia del Hombre de Negocios en Filipinas), Manila: 1867, Imp. de Ramirez y Giraudier.
Rafael Moreno y Diez, Manual del Cabeza de Barangay en Castellano y en Tagalog, Manila: 1874, Imprenta "Amigos del Pais".
Regalado Trota Jose, The Many Images of Christ (particularly in the section: Spain retains the old class system) in DALISAY, Jose Y, ed. (1998), Kasaysayan: The Story of the Filipino People.
See also: Alfredo Reyes; CORDERO-FERNANDO, Gilda; QUIRINO, Carlos & GUTIERREZ, Manuel C, eds. Filipino Heritage: the Making of a Nation (10 vols), Manila: 1997, Lahing Pilipino Publications.
Celdrán Ruano, Julia, ed. (2009). La configuración del sistema jurídico hispano en las Islas Filipinas: orígenes y evolución (siglos XVI-XVIII) in Anales de Derecho, Vol. 27 (2009) (pdf) (in Español).
Jorge Alberto Liria Rodríguez, LA PECULIAR ADMINISTRACIÓNESPAÑOLA EN FILIPINAS (1890–1898), Las Palmas de Gran Canaria: Anroart, Asociación canaria para la difusión de la cultura y el arte , 2004.
Maura Law.
References
Honorary titles
History of the Philippines (1565–1898)
Captaincy General of the Philippines
Social class in the Philippines
People of Spanish colonial Philippines
Filipino nobility
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"The affect heuristic is a heuristic, a mental shortcut that allows people to make decisions and solve problems quickly and efficiently, in which current emotion—fear, pleasure, surprise, etc.—influences decisions. In other words, it is a type of heuristic in which emotional response, or \"affect\" in psychological terms, plays a lead role. It is a subconscious process that shortens the decision-making process and allows people to function without having to complete an extensive search for information. It is shorter in duration than a mood, occurring rapidly and involuntarily in response to a stimulus. Reading the words \"lung cancer\" usually generates an affect of dread, while reading the words \"mother's love\" usually generates a feeling of affection and comfort. The affect heuristic is typically used while judging the risks and benefits of something, depending on the positive or negative feelings that people associate with a stimulus. It is the equivalent of \"going with your gut\". If their feelings towards an activity are positive, then people are more likely to judge the risks as low and the benefits high. On the other hand, if their feelings towards an activity are negative, they are more likely to perceive the risks as high and benefits low.\n\nConcept\nThe theory of affect heuristic is that a human being's affect can influence how he or she makes decisions. Research has shown that risk and benefits are negatively correlated in people's minds. This was found after researchers found that the inverse relationship between perceived risk and perceived benefit of an activity was linked to the strength of positive or negative affect associated with the activity as measured by rating the activity on bipolar scales (e.g. good/bad). This implies that people base their judgements of an activity or a technology not only on what they think about it, but also on how they feel about it. The affect heuristic gained early attention in 1980 when Robert B. Zajonc argued that affective reactions to stimuli are often the first reaction which occur automatically and subsequently influencing the way in which we process and judge information. The affect heuristic received more recent attention when it was used to explain the unexpected negative correlation between benefit and risk perception. Finucane, Alhakami, Slovic and Johnson theorized in 2000 that a good feeling towards a situation (i.e., positive affect) would lead to a lower risk perception and a higher benefit perception, even when this is logically not warranted for that situation. This implies that a strong emotional response to a word or other stimulus might alter a person's judgment. He or she might make different decisions based on the same set of facts and might thus make an illogical decision. Overall, the affect heuristic is of influence in nearly every decision-making arena.\n\nTheoretical accounts of affect\nAn alternative thought to the “gut feeling” response is Antonio Damasio's somatic marker hypothesis. It is the opinion that thought is made largely from images which include perceptual and symbolic representations. These images then become “marked” by positive or negative feelings linked directly or indirectly to somatic states. When a negative somatic marker is linked to an image of a future outcome, it sounds an alarm in the brain. When a positive marker is linked to an image, it becomes a signal of incentive. He hypothesized that somatic markers increase the accuracy of the decision process and the absence of these markers, mostly seen in people with certain types of brain damage, degrades the ability to make good decisions. This hypothesis arose when observing patients with damage to their prefrontal cortex who had severe impairments in personal and social decision-making despite their other abilities.\n\nThought and feeling\nIt has been argued by researchers that people use affect heuristics as a first response to an issue, they rely on spontaneous affective reactions which make it more efficient than having to research and analyze external information. Slovic, Finucane, Peters and MacGregor (2005) contrast two modes of thinking: the analytic system and the experiential system. The analytic system, also referred to as the rational system, is thought that is considered to be slow and requires effort; it requires consciousness, probabilities, logical reasoning, and substantial evidence. The experiential system is the exact opposite. It is intuitive and mostly automatic which makes it more convenient for people because it does not require effort or consciousness. It relies on images, metaphors, and narratives which are then used to estimate the probability of a hazard. This is due to the experience of affect, in other words, a “gut feeling.” Multiple studies including the one done by Miller and Ireland (2005) show how \"gut feeling\" or intuitive decisions affect various executives and managers of many companies. Many of the individuals studied use intuition as an effective approach to making important decisions. The experimenters' goal is to evaluate the risk and benefits of using intuition. Their results show that this is a troublesome decision tool. Affective reactions that accompany judgements are not necessarily voluntary, but are automatic responses. Zajonc states that “one might be able to control the expression of emotion, but not the experience of it itself.” However, he also clarifies that feelings are not free of thought and that thoughts are not free of feeling. The experiential system also takes past experiences into account. In other words, if a person has already experienced a certain issue, he or she is more likely to take more precautions towards the issue.\n\nExperimental findings\nMany studies have been done to further look into affect heuristics and many have found that these heuristics shape our attitudes and opinions towards our decisions, especially risk perception. These studies demonstrate how affect is an important characteristic of the decision-making process in many different domains and aspects as well as how it can lead to a strong conditioner of preference. As demonstrated below, affect is independent of cognition which indicate that there are conditions where affect does not require cognition.\n\nSubliminal affective response\nThe cause of affect does not necessarily have to be consciously perceived. A study conducted by Winkielman, Zajonc and Schwarz (1997) demonstrated the speed at which an affective reaction can influence judgements. To do this they used a subliminal priming paradigm where participants were \"primed\" through exposure to either a smiling face, a frowning face, or a neutral polygon presented at about of a second. This was considered an amount of time where the nature of the stimuli could not be recalled. Participants were then exposed to an ideograph (e.g. a Chinese character) for two seconds and asked to rate the ideograph on a scale of liking. Researchers found that participants preferred the ideograph preceded with a smiling face as opposed to those preceded by a frowning face or neutral polygon despite the fact that the smiling face was only shown for of a second.\n\nThe same experiment demonstrated the persistence of initial affect. During a second session, participations were primed with the same characters, but these characters were preceded by a different face that they were not previously exposed to (e.g. those previously exposed to the smiling face were now exposed to the neutral polygon). Participants continued to show preference for the characters based on the first association, even though the second exposure was preceded by a different affective stimulus. In other words, the second priming was ineffective because the effects of the first priming still remained. If the participant liked a character following exposure to a smiling face, they would continue to like the character even when it was preceded by a frowning face during the second exposure. (The experimental outcome was statistically significant and adjusted for variables such as non-affective preference for certain characters).\n\nInsensitivity to numbers\nSometimes affective responses to certain stimuli are a result of a lack of sensitivity to other factors, for example, numbers. Slovic and Peters (2006) did a study on psychophysical numbing, the inability to discriminate change in a physical stimulus as the magnitude of the stimulus increases, and found that students more strongly supported an airport-safety measure that was expected to save a high percentage of 150 lives at risk as opposed to a measure that was expected to save 150 lives. This is thought to have occurred because although saving 150 lives is good, it is somewhat harder to comprehend and thus the decision comes from the positive feeling associated with the higher percentage.\n\nThe influence of time\nResearch has been conducted in the influence that time plays in decision-making. In two experiments, Finucane, Alhakami, Slovic and Johnson (2000) studied the affect heuristic under time pressure and the influence that providing risk and benefit information has on the affect heuristic. The researchers compared individuals under no time pressure and those with time pressure. They predicted that individuals under time pressure would rely more heavily on their affect in order to be more efficient in their responses whereas those under no time pressure would use more logic in their decision-making. To do this, university students were randomly assigned to one of the two conditions (time pressure or no time pressure) and one of the two counterbalancing orders (risk judgements followed by benefit judgements or vice versa). They were then given a task in which they had to make judgements about the risk or benefit of certain activities and technologies. As predicted, individuals in the time-pressure condition took less time to make risk judgements than did individuals in the no time pressure condition. In the second experiment, students again had to make judgements about certain activities, but this time were given additional information about the risk and benefits. Information was framed as being high risk, low risk, high benefit or low benefit. The researchers found that this additional information did in fact influence their judgements.\n\nTwo similar studies were conducted by Wilson and Arvai in 2006, in which they also looked at the affect heuristic affects high and low risk options. These experiments examine the affect heuristic and the “evaluability hypothesis”, the joint evaluation when options are evaluated in a side-by-side comparison and separate evaluation where options are evaluated on their own. They take this concept and discuss how it relates to the affect heuristic by specifically looking at making traits of an option more or less meaningful in terms of the context of choice, more specifically, affect. To examine this relationship more closely, they conducted two experiments where participants received quantitative information about the nature of risks and were placed in one of two groups: affect-poor combined with high risks and affect-rich combined with low risks. In their first study, they looked how the influence of affect on evaluability in joint evaluations as compared to separate evaluations. To this, participants were asked to make choices about the affect-rich problem of crime and the affect-poor problem of deer overpopulation. Participants were asked to rate how they perceived crime and deer overpopulation by rating on a scale from \"very good\" to \"very bad.\" They found that participants ignored the quantitative information and focused on the affect characteristics.\n\nFear appeals\nHealth campaigns often use “fear appeals” to grab the attention of their audience. Fear appeals are a type of advertising that specifically uses methods of creating anxiety in the consumer which results in the consumer wanting to cure this fear by purchasing the product. In a study by Averbeck, Jones, and Robertson (2011), researchers look at how prior knowledge influences one's response to fear appeals. Surveys were distributed which manipulated prior knowledge as low or high and two different topics: sleep deprivation or spinal meningitis. Various scale were used to test how prior knowledge affects certain health-related issues. Researchers found that individuals who had prior knowledge in a certain subject exhibited less fear and were least likely to fall prey to the affect heuristic as opposed to individuals that did not have prior knowledge who exhibited more fear and were more likely to fall prey.\n\nAnother example of how fear appeals are used in marketing today is through the findings presented in the experiment by Schmitt and Blass (2008). They produced two versions of an anti-smoking film. One contained high fear arousal and one did not. When exposed to these films, the participants (46 non-smoking students and 5 smoking students) expressed stronger anti-smoking behavioral intentions than when they viewed the low fear-arousal version.\n\nClimate change\nResearch has shown that Americans are aware of climate change, but do not consider it to be a serious problem due to the lack of an affective response. Many people report as not having experienced the consequences of climate change or that it is a long-term consequence that will not happen in the near future. Therefore, it is considered to be of lower priority and not much is done as a solution to global climate change.\n\nRisk communication\nResearch on the affect heuristic had its origin in risk perception. Communicating risk is meant to improve the correspondence between the magnitude of the risk of an issue and the magnitude to which people respond to that risk. Affect, specifically negative affect, is an important method for increasing perceived risk considering its influences on perceived risk and thus has been utilized as essential for communicating risk to the public.\n\nRaising risk awareness is thought to be increased when risk information is presented in the form of frequences (e.g. “Within 40 years there is a 33% probability of flood”) or probabilities (e.g. “Each year there is a 1% probability of flood). This method is thought to evoke an affective response which then increases the availability of risk which results in greater perceived risk. This demonstrates how the way in which information is presented influences the way in which people interpret the information, more specifically, potential risks. Research also shows that people's financial risk taking is affected by their emotional state,\n\nThe affect heuristic is certainly evident in product innovations we see in the market. The processes consumers use to weigh the potential risk and benefits associated with purchasing such innovations are in constant motion. A study by Slovic and King (2014) tries to explain this specific phenomenon. Their experiment addresses the extent to which feelings dominate early perceptions of new products. Participants were exposed to three innovations in pretest and posttest design. Through this study, they concluded that risks and benefits associated with innovations are related to the consumer's evaluations of the products.\n\nCancer\nResearchers have looked at the affective and experiential modes of thinking in terms of cancer prevention. Research has shown that affect plays a significant role in whether people choose to get screened for certain types of cancer. Current research is now looking into how to communicate the risks and benefits of cancer prevention and treatment options. So far research has shown that the way in which information is framed does play a role in the way in which the information is interpreted. Research has also shown that treatment options may not have significant meaning to patients unless it has an affective connection. It is for this reason that researchers are looking into using affective coding such as icon arrays to make numerical information easier to understand and process.\n\nAir Pollution \nAn experiment composed by Hine and Marks (2007) examines the role of affect heuristics in maintaining wood-burning behavior. The individuals analyzed in this study were 256 residents of a small Australian city where high levels of wood smoke pollution are present. With the negative effects of air pollution evident, their studies found that individuals who used wood heaters exhibited less support for wood smoke control policies. These individuals were aware that their wood heaters were part of the problem. Even with that awareness, their positive affections and emotions towards wood heating trumped all negative evidence for it.\n\nSmiling\nResearch has been done on how smiling can cause affective responses and thus influence our opinions of others. An experiment by LaFrance and Hecht (1995) investigated whether a smiling target would elicit more leniency than those that do not. Participants judged a case of potential academic misconduct and were asked to rate a list of subjects. Materials included photos of a female target either showing a neutral expression, felt smile, false smile, or miserable smile. Researchers found that the student pictured as smiling received less punishment than did the student who did not smile despite the fact that the smiling student was not seen as less guilty. They did not find a significant difference between the different smiles. Smiling students were also rated as more trustworthy, honest, genuine, good, obedient, sincere, and admirable compared to the student that did not smile.\n\nTo the previous studies evidence, there is further evidence on the effect of smiling on a person’s perception. They contain it in the experiment by Delevati and Cesar (1994). Brazilian undergraduates perceived a slide of a male and female person. Smiling faces were portrayed and non-smiling faces were portrayed. The participants used 12 different adjectives to judge the portraits. Results showed those persons showing a smile received more favorable perceptions than those who did not. Generally speaking, a smiling person can produce warmer feelings in the perceiver than the non-smiling person.\n\nMemory load\nResearchers have studied how one's memory load increases one's chances of using the affect heuristic. In a study by Shiv and Fedorikhin (1999), participants were asked to either memorize a two-digit number (low cognitive demand) or a seven-digit number (high cognitive demand). Participants were then asked to enter another room where they would report their number. On the way there, they were asked for their preference for two snacks: chocolate cake (more favorable affect, less favorable cognition) or fruit salad (less favorable affect, more favorable cognition). Researchers predicted that participants given the seven-digits to remember (high cognitive load) would reduce their deliberation process due to having to remember a large amount of information. This would increase the chances of these participants choosing the cake over the fruit salad due to it being the more affectively favorable option. This hypothesis proved true with participants choosing the chocolate cake 63% of the time when given a high cognitive load and only 41% when given a low cognitive load. In the same study they also tested the impulsiveness of the participants in moderating the effects of processing-resources of choice and at the time they were asked for their preference for the two snacks high cognitive demand chose the chocolate cake 84.2%. This provides evidence that people's decisions can be influenced by affect heuristic in a relatively spontaneous manner from the stimulus, with little involvement of higher-order cognitive demand.\n\nLasting effects\nAnother common situation involving affect heuristic is where a strong, emotional first impression can inform a decision, even if subsequent evidence weight cognitively against the original decision made. In a study by Sherman, Kim and Zajonc (1998), they investigated how long the induced effects of an affective response could last. Participants were asked to study Chinese characters and their English meanings. Half of the meanings were positive (e.g. beauty) and the other half negative (e.g. disease). Participants were then tested on these meanings, which was followed by a task in which they were given pairs of characters and asked to choose which character they preferred. Researchers found that participants preferred the character with a positive meaning.\n\nIn the same experiment, participants were given a new task where the characters were presented with a neutral meaning (e.g. linen) and participants were told that these were the true meanings of the character. The testing procedure was the same and despite exposing participants with the new meanings, their preferences in characters remained the same. Characters that were paired with positive meanings continued to be preferred.\n\nDisadvantages\nWhile heuristics can be helpful in many situations, it can also lead to biases which can result in poor decision-making habits. Like other heuristics, the affect heuristic can provide efficient and adaptive responses, but relying on affect can also cause decisions to be misleading.\n\nSmoking\nStudies have looked at how the affect influences smoking behavior. Smokers tend to act experientially in the sense that they give little conscious thought to the risks before they start. It is usually as a result of affective responses in the moment that occur when seeing others partake in the behavior. Epstein (1995) found that there has been quite a bit of manipulation of consumers when it comes to packaging and marketing products. This is especially the case with tobacco companies. Research has shown that cigarette advertisements were designed to increase the positive affect associated with smoking and decrease the perceptions of risk. Therefore, seeing this advertisement could lead people astray to start smoking because of its induced appeal. In a study by Slovic et al. (2005), he released a survey to smokers in which he asked “If you had it to do all over again, would you start smoking?” and more than 85% of adult smokers and about 80% of young smokers (between the ages of 14-22) answered “No.” He found that most smokers, especially those that start at a younger age, do not take the time and think about how their future selves will perceive the risks associated with smoking. Essentially, smokers give little conscious thought to smoking before they start and it is usually after they have started smoking and have become addicted that they learn new information about health risk.\n\nReferences\n\nFurther reading\n \n \n \n\nFeeling\nHeuristics\nExperimental psychology",
"Affect, as a term of rhetoric, is the responsive, emotional feeling (affect) that precedes cognition. Affect differs from pathos as described by Aristotle as one of the modes of proof and pathos as described by Jasinski as an emotional appeal because it is “the response we have to things before we label that response with feelings or emotions.”\n\nIn further exploring this term, scholars recognized affect’s rhetorical role in literature, photography, marketing and memory. In 2012, Rogers described how author W. E. B. Du Bois used the structure of his work, The Souls of Black Folk, to affect his audience into feeling shame. In 2016, Brunner and Deluca proposed the term affective winds to describe “the force of images that moves people to engage and interact by exploring the affective potency of visual arguments.” Affective winds were part of the rhetorical persuasiveness of images shared through social media. In a different sense, Harold described how the Target Corporation’s advertising used aura and affect to democratize the appearance of some products. Affect has also been identified as a conduit through which rhetorical memories can be internalized.\n\nDrawing from philosophy, some rhetorical studies of affect have followed Martin Heidegger's articulation of Dasein which posits \"affect\" as the ground of reason. Others follow post-structuralist and post-Heideggerian insights to follow affect's influence on rhetorical canons and digital rhetoric.\n\nReferences\n\nRhetorical techniques"
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"Principalía",
"Pre-colonial principalities",
"What were the pre-colonial princibalities?",
"From the beginning of the colonial period in the Philippine, the Spanish government built on the traditional pre-conquest socio-political organization of the barangay",
"How did this affect the government?",
"In other regions, even though the majority of these barangays were not large settlements, yet they had organized societies"
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What are some interesting aspects about this article?
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What are some interesting aspects about this article on Principalía, Pre-colonial principalities?
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Principalía
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From the beginning of the colonial period in the Philippine, the Spanish government built on the traditional pre-conquest socio-political organization of the barangay and co-opted the traditional indigenous princes and their nobles, thereby ruling indirectly. The barangays in some coastal places in Panay, Manila, Cebu, Jolo, and Butuan, with cosmopolitan cultures and trade relations with other countries in Asia, were already established principalities (Kinadatuan) before the coming of the Spaniards. In other regions, even though the majority of these barangays were not large settlements, yet they had organized societies dominated by the same type of recognized aristocracy and lordships (with birthright claim to allegiance from followers), as those found in more established, richer and more developed principalities. The aristocratic group in these pre-colonial societies was called the datu class. Its members were presumably the descendants of the first settlers on the land or, in the case of later arrivals, of those who were datus at the time of migration or conquest. The duty of the datus was to rule and govern their subjects and followers, and to assist them in their interests and necessities. What the chiefs received from their followers was: to be held by them in great veneration and respect; and they were served in their wars and voyages, and in their tilling, sowing, fishing, and the building of their houses. The natives attended to these duties very promptly, whenever summoned by their chief. They also paid their chief tribute (which they called buwis) in varying quantities, in the crops that they gathered. The descendants of such chiefs, and their relatives, even though they did not inherit the Lordship, were held in the same respect and consideration, and were all regarded as nobles and as persons exempt from the services rendered by the others, or the plebeians (timawas). The same right of nobility and chieftainship was preserved for the women, just as for the men. Some of these principalities and lordships have remained, even until the present, in unHispanicized and mostly Lumad and Muslim parts of the Philippines, in some regions of Mindanao. CANNOTANSWER
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The duty of the datus was to rule and govern their subjects and followers, and to assist them in their interests and necessities. What the chiefs received
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The principalía or noble class was the ruling and usually educated upper class in the pueblos of the Spanish Philippines, comprising the Gobernadorcillo, who was later referred to as Capitán Municipal (who had functions similar to a town mayor), El Teniente de Justicia (Lieutenants of Justice), and the Cabezas de Barangay (heads of the barangays) who governed the districts, former Gobernadorcillos or Municipal Captains, and Municipal lieutenants in good standing during their term of office.
The distinction or status of being part of the principalía was originally a hereditary right. However, the royal decree of December 20, 1863 (signed in the name of Queen Isabella II by the Minister of the Colonies, José de la Concha), made possible the creation of new principales under certain defined criteria, among which was the proficiency in the Castilian language. Later, wider conditions that define the principalía were stipulated in the norms provided by the Maura Law of 1893, which were never changed until Spain lost the Philippines to the United States in 1898. The Law also redefined the reference to the head of municipal government in the Spanish Philippines from Gobernadorcillo to Capitán Municipal, and extended the distinction as principales to citizens paying 50 pesos in land tax.
Prior to the Maura Law, this distinguished upper class included only those exempted from tribute (tax) to the Spanish crown. Colonial documents would refer to them as "de privilegio y gratis", in contrast to those who pay tribute ("de pago"). It was the true aristocracy and the true nobility of the Spanish Philippines, which could be roughly comparable to the patrician class in Ancient Rome. The principales (members of the principalía) traced their origin to the precolonial Maginoo ruling class of the established kingdoms, rajahnates, confederacies, and principalities, as well as the lordships of the smaller, ancient social units called barangays in the Visayas, Luzon, and Mindanao. The members of this class enjoyed exclusive privileges: only the members of the principalía were allowed to vote, be elected to public office, and be bear the titles Don or Doña. The use of the honorific addresses "Don" and "Doña" was strictly limited to what many documents during the colonial period would refer to as "vecinas y vecinos distinguidos".
For the most part, the social privileges of the nobles were freely acknowledged as befitting their greater social responsibilities. The gobernadorcillo during that period received a nominal salary and was not provided government funds for public services. In fact, more often the gobernadorcillo had to maintain governance of his municipality by looking after the post office and the jailhouse, alongside managing public infrastructure, using personal resources.
Principales also provided assistance to parishes by helping in the construction of church buildings, and in the pastoral and religious activities of the clergy who, being usually among the few Spaniards in most colonial towns, had success in winning the goodwill of the natives. More often, the clergy were the sole representatives of Spain in many parts of the archipelago. Under the Patronato Real of the Spanish crown, these Spanish churchmen were also the king's de facto ambassadors, and promoters of the realm.
With the end of Spanish sovereignty over the Philippines after the Spanish–American War in 1898 and the introduction of a democratic, republican system during the American Occupation, the principalía and their descendants lost their legal authority and social privileges. Many were, however, able to integrate into the new socio-political structure, retaining some degree of influence and power.
Historical background
Pre-colonial principalities
From the beginning of the colonial period in the Philippine, the Spanish government built on the traditional preconquest sociopolitical organization of the barangay and coopted the traditional indigenous princes and their nobles, thereby ruling indirectly. Manila, Cebu, Jolo, and Butuan, with cosmopolitan cultures and trade relations with other countries in Asia, were already established principalities (Kinadatuan) before the coming of the Spaniards. In other regions, even though the majority of these barangays were not large settlements, yet they had organized societies dominated by the same type of recognized aristocracy and lordships (with birthright claim to allegiance from followers), as those found in more established, richer and more developed principalities. The aristocratic group in these precolonial societies was called the datu class. Its members were presumably the descendants of the first settlers on the land or, in the case of later arrivals, of those who were datus at the time of migration or conquest.
The duty of the datus was to rule and govern their subjects and followers, and to assist them in their interests and necessities. What the chiefs received from their followers was: to be held by them in great veneration and respect; and they were served in their wars and voyages, and in their tilling, sowing, fishing, and the building of their houses. The natives attended to these duties very promptly, whenever summoned by their chief. They also paid their chief tribute (which they called buwis) in varying quantities, in the crops that they gathered. The descendants of such chiefs, and their relatives, even though they did not inherit the Lordship, were held in the same respect and consideration, and were all regarded as nobles and as persons exempt from the services rendered by the others, or the plebeians (timawas). The same right of nobility and chieftainship was preserved for the women, just as for the men.
Some of these principalities and lordships have remained, even until the present, in unHispanicized and mostly Lumad and Muslim parts of the Philippines, in some regions of Mindanao.
Pre-colonial principalities in the Visayas
In more developed barangays in Visayas, e.g., Panay, Bohol and Cebu (which were never conquered by Spain but were incorporated into the Spanish sphere of influence as vassals by means of pacts, peace treaties, and reciprocal alliances), the datu class was at the top of a divinely sanctioned and stable social order in a territorial jurisdiction called in the local languages as Sakop or Kinadatuan (Kadatuan in ancient Malay; Kedaton in Javanese; and Kedatuan in many parts of modern Southeast Asia), which is elsewhere commonly referred to also as barangay. This social order was divided into three classes. The Kadatuan, which is also called Tumao (members of the Visayan datu class), were compared by the Boxer Codex to the titled lords (Señores de titulo) in Spain. As Agalon or Amo (lords), the datus enjoyed an ascribed right to respect, obedience, and support from their oripun (commoner) or followers belonging to the third order. These datus had acquired rights to the same advantages from their legal "timawa" or vassals (second order), who bind themselves to the datu as his seafaring warriors. "Timawas" paid no tribute, and rendered no agricultural labor. They had a portion of the datu's blood in their veins. The Boxer Codex calls these "timawas" knights and hidalgos. The Spanish conquistador, Miguel de Loarca, described them as "free men, neither chiefs nor slaves". In the late 1600s, the Spanish Jesuit priest Fr. Francisco Ignatio Alcina, classified them as the third rank of nobility (nobleza).
To maintain purity of bloodline, datus marry only among their kind, often seeking high ranking brides in other barangays, abducting them, or contracting brideprices in gold, slaves and jewelry. Meanwhile, the datus kept their marriageable daughters secluded for protection and prestige. These wellguarded and protected highborn women were called "binokot", the datus of pure descent (four generations) were called "potli nga datu" or "lubus nga datu", while a woman of noble lineage (especially the elderly) was addressed by the Visayans (of Panay) as "uray" (meaning: pure as gold), e.g., uray Hilway.
Pre-colonial principalities in the Tagalog region
The different type of culture prevalent in Luzon gave a less stable and more complex social structure to the precolonial Tagalog barangays of Manila, Pampanga and Laguna. Enjoying a more extensive commence than those in Visayas, having the influence of Bornean political contacts, and engaging in farming wet rice for a living, the Tagalogs were described by the Spanish Augustinian Friar Martin de Rada as more traders than warriors.
The more complex social structure of the Tagalogs was less stable during the arrival of the Spaniards because it was still in a process of differentiating.
Comparison
The Jesuit priest Francisco Colin made an attempt to give an approximate comparison of it with the Visayan social structure in the middle of the seventeenth century. The term datu or lakan, or apo refers to the chief, but the noble class to which the datu belonged or could come from was the maginoo class. One may be born a maginoo, but he could become a datu by personal achievement. In the Visayas, if the datu had the personality and economic means, he could retain and restrain competing peers, relatives, and offspring. The term timawa came into use in the social structure of the Tagalogs within just twenty years after the coming of the Spaniards. The term, however, was being applied to former alipin (third class) who have escaped bondage by payment, favor, or flight. The Tagalog timawas did not have the military prominence of the Visayan timawa. The warrior class in the Tagalog society was present only in Laguna, and they were called the maharlika class. At the early part of the Spanish regime, the number of their members who were coming to rent land from their datus was increasing.
Unlike the Visayan datus, the lakans and apos of Luzon could call all nonmaginoo subjects to work in the datu's fields or do all sorts of other personal labor. In the Visayas, only the oripuns were obliged to do that, and to pay tribute besides. The Tagalog who works in the datu's field did not pay him tribute, and could transfer their allegiance to another datu. The Visayan timawa neither paid tribute nor performed agricultural labor. In a sense, they were truly aristocrats. The Tagalog maharlika did not only work in his datu's field, but could also be required to pay his own rent. Thus, all nonmaginoo formed a common economic class in some sense, though this class had no designation.
The civilization of the precolonial societies in the Visayas, northern Mindanao, and Luzon were largely influenced by Hindu and Buddhist cultures. As such, the datus who ruled these principalities (such as Butuan, Cebu, Panay, Mindoro and Manila) also shared the many customs of royalties and nobles in southeast Asian territories (with Hindu and Buddhist cultures), especially in the way they used to dress and adorn themselves with gold and silk. The Boxer Codex bears testimony to this fact. The measure of the prince's possession of gold and slaves was proportionate to his greatness and nobility. The first westerners who came to the archipelago observed that there was hardly any "Indian" who did not possess chains and other articles of gold.
Filipino nobility during the colonial period
When the Spaniards expanded their dominion to the Americas and later on to the East Indies, they encountered different cultures that existed in these territories, which possessed different social structures (more or less complex) where as a common trait among them, there was a ruling class that held power and determined the destinies of peoples and territories under its control. These elites were those that the Spaniards discovered and conquered in the New World. It was these Spanish conquerors, using European terminology, who correlated the identity of classes of the pre-Hispanic elites, alongside with the royalty or with the nobility of Europe at the time according to appropriate categories, e.g., emperor, king, etc.
The thoughts of the more notable among them give useful insights on how the first European settlers regarded the rulers of Indians in the New World. Fray Bartolome de las Casas, for example, would argue that indigenous nobles were "(...) as Princes and Infantes like those of Castile." Juan de Matienzo, during his rule of Peru, said that the "Caciques, curacas and principales are the native princes of the Indians." In the Lexicon of Fray Domingo de Santo Tomás and Diego González Holguín as well as in the work of Ludovico Bertonio, several entries included were devoted to identify the pre-Hispanic society, comparing their old titles to those of their counterpart in the Iberian peninsula. The same approach to the local society in the East Indies was used by the Spaniards.
The principalía was the first estate of the four echelons of Filipino society at the time of contact with Europeans, as described by Fr. Juan de Plasencia, a pioneer Franciscan missionary in the Philippines. Loarca and the Canon Lawyer Antonio de Morga, who classified society into three estates (ruler, ruled, slave), also affirmed the preeminence of the principales. All members of this first estate (the datu class) were principales whether they were actually occupying positions to rule or not. The Real Academia Española defines Principal as, "A person or thing that holds first place in value or importance, and is given precedence and preference before others". This Spanish term best describes the first estate of the society in the archipelago, which the Europeans came in contact with. San Buenaventura's 1613 Dictionary of the Tagalog language defines three terms that clarify the concept of principalía:
Poon or Punò (chief, leader) – principal or head of a lineage.
Ginoo – a noble by lineage and parentage, family and descent.
Maguinoo – principal in lineage or parentage.
The Spanish term Señor (lord) is equated with all these three terms, which are distinguished from the nouveau riche imitators scornfully called maygintao (man with gold or hidalgo by wealth, and not by lineage). The first estate was the class that constituted a birthright aristocracy with claims to respect, obedience, and support from those of subordinate status.
Local nobility and the Laws of the Indies
After conquering Manila and making it the capital of the colonial government in 1571, Miguel Lopez de Legaspi noted that aside from the rulers of Cebu and of the capital, the other principales existing in the Archipelago were either heads or Datus of the barangays allied as nations; or tyrants, who were respected only by the law of the strongest. From this system of the law of the strongest sprung intestinal wars with which certain dominions annihilate one another. Attentive to these existing systems of government without stripping these ancient sovereigns of their legitimate rights, Legaspi demanded from these local rulers vassalage to the Spanish Crown. On 11 June 1594, shortly before confirming Legaspi's erection of Manila as a city on June 24 of the same year, King Philip II issued a Royal Decree institutionalizing the recognition of the rights and privileges of the local ruling class of the Philippines, which was later included in the codification of the Recopilación de las leyes de los reynos de Las Indias.
In Book VI, Title VII (dedicated to the caciques) of the Recopilación de las leyes de los reynos de Las Indias, (Laws of the Indies) there are three very interesting laws insofar as they determined the role that the caciques were to play in the Indian new social order under the colonial rule. With these laws, the Spanish Crown officially recognized the rights of these principales of pre-Hispanic origin. Specifically, Laws 1, 2 (dedicated to American territories) and; Law 16, instituted by Philip II, on 11 June 1594 which is similar to the previous two, with the main purpose of assuring that the principales of the Philippines would be treated well and be entrusted with some government charge. Likewise, this provision extended to the Filipino caciques all policies concerning the Indian caciques under the Spanish rule.
To implement a system of indirect rule in the Philippines, King Philip II ordered, through this law of 11 June 1594, that the honors and privileges of governing, which were previously enjoyed by the local royalty and nobility in formerly sovereign principalities who later accepted the catholic faith and became subject to him, should be retained and protected. He also ordered the Spanish governors in the Philippines to treat these native nobles well. The king further ordered that the natives should pay to these nobles the same respect that the inhabitants accorded to their local Lords before the conquest without prejudice to the things that pertain to the king himself or to the encomenderos.
The royal decree says: "It is not right that the Indian chiefs of Filipinas be in a worse condition after conversion; rather they should have such treatment that would gain their affection and keep them loyal, so that with the spiritual blessings that God has communicated to them by calling them to His true knowledge, the temporal blessings may be added, and they may live contentedly and comfortably. Therefore, we order the governors of those islands to show them good treatment and entrust them, in our name, with the government of the Indians, of whom they were formerly lords. In all else the governors shall see that the chiefs are benefited justly, and the Indians shall pay them something as a recognition, as they did during the period of their paganism, provided this is without prejudice to the tributes that are to be paid us, or to that which pertains to their encomenderos."
Through this law, the local Filipino nobles (under the supervision of the Spanish colonial officials) became encomenderos (trustees) also of the King of Spain, who ruled the country indirectly through these nobles. Corollary to this provision, all existing doctrines and laws regarding the Indian caciques were extended to Filipino principales. Their domains became selfruled tributary barangays of the Spanish Empire.
The system of indirect government helped in the pacification of the rural areas, and institutionalized the rule and role of an upper class, referred to as the "principalía" or the "principales", until the fall of the Spanish regime in the Philippines in 1898.
The Spanish dominion brought serious modifications to the life and economy of the indigenous society. The shift of emphasis to agriculture marginalized, weakened, and deprived the hildalgolike warriors of their significance in the barangays, especially in the traderaiding societies in the Visayas (which needed the Vikinglike services of the "timawas"). By the 1580s, many of these noblemen found themselves reduced to leasing land from their datus. Their military functions were eclipsed by farming. Whatever remained would quickly be disoriented, deflected, and destroyed by the superior military power of Spain.
By the end of the 16th century, any claim to Filipino royalty, nobility or hidalguía had disappeared into a homogenized, Hispanicized and Christianized nobility – the principalía. This remnant of the precolonial royal and noble families continued to rule their traditional domain until the end of the Spanish regime. However, there were cases when succession in leadership was also done through election of new leaders (cabezas de barangay), especially in provinces near the Manila where the ancient ruling families lost their prestige and role. It appears that proximity to the seat of colonial Government diminished their power and significance. In distant territories, where the central authority had less control and where order could be maintained without using coercive measures, hereditary succession was still enforced, until Spain lost the archipelago to the Americans. These distant territories remained patriarchal societies, where people retained great respect for the principalía.
Emergence of the mestizo class
The principalía was larger and more influential than the preconquest indigenous nobility. It helped create and perpetuate an oligarchic system in the Spanish colony for more than three hundred years,
serving as a link between the Spanish authorities and the local inhabitants.
The Spanish colonial government's prohibition for foreigners to own land in the Philippines contributed to the evolution of this form of oligarchy. In some provinces of the Philippines, many Spaniards and foreign merchants intermarried with the rich and landed MalayoPolynesian local nobilities. From these unions, a new cultural group was formed, the mestizo class. Their descendants emerged later to become an influential part of the government, and of the principalía.
The increase of population in the Archipelago, as well as the growing presence of Chinese and Mestizos also brought about social changes that necessitated the creation of new members of the principalía for these sectors of Filipino colonial society. In this regard, pertinent laws were promulgated, such as the above-mentioned royal decree issued on December 20, 1863 (signed in the name of Queen Isabella II by the Minister of the Colonies, José de la Concha), which indicate certain conditions for promotion to the principalía class, among others, the capacity to speak the Castilian language. The reform also paved way to the creation of authorities among the Chinese guilds in enclaves of big settlements like Manila, on condition that these leaders were Christianized. Furthermore, Chinese Gobernadorcillos were not given jurisdiction over municipal districts. Their jurisdiction was exceptional and they only exercised this over persons belonging to their guilds.
Royal Cedula of Charles II
The emergence of the mestizo class was a social phenomenon not localized in the Philippines, but was also very much present in the American continent.
On 22 March 1697, Charles II of Spain issued a Royal Cedula, related to this phenomenon. The Cedula gave distinctions to classes of persons in the social structure of the Crown Colonies, and defined the rights and privileges of colonial functionaries. In doing so, the Spanish Monarch touched another aspect of the colonial society, i.e., the status of indigenous nobles, extending to these indigenous nobles, as well as to their descendants, the preeminence and honors customarily attributed to the Hidalgos of Castile. The Royal Cedula stipulates:
"Bearing in mind the laws and orders issued by my Progenies, Their Majesties the Kings, and by myself, I order the good treatment, assistance, protection and defense of the native Indians of America, that they may be taken cared of, maintained, privileged and honored like all other vassals of my Crown and that, in the course of time, the trial and use of them stops. I feel that its timely implementation is very suitable for public good, for the benefit of the Indians and for the service of God and mine. That, consequently, with respect to the Indian mestizos, the Archbishops and Bishops of the Indias are charged by Article 7, Title VII, Book I of the Laws of the Indies, for ordaining priests, being attentive to the qualities and circumstances present, and if some mestizas ask to be religious, they (Bishops) shall give support to those whom they admit in monasteries and for vows. But in particular, with regard to the requirements for Indians in order to accede to ecclesiastical or secular, governmental, political and military positions, which all require purity of blood and, by its Statute, the condition of nobility, there is distinction between the Indians and mestizos, inasmuch as there is between the [1] descendants of the notable Indians called caciques, and [2] those who are issues of less notable Indian tributaries, who in their pagan state acknowledged vassalage. It is deemed that all preeminence and honors, customarily conferred on the Hijosdalgos of Castile, are to be attributed to the first and to their descendants, both ecclesiastical and secular; and that they can participate in any communities which, by their statutes require nobility; for it is established that these, in their heathenism, were nobles to whom their subordinates acknowledged vassalage and to whom tributes were paid. Such kind of nobility is still retained and acknowledged, keeping these as well as their privileges wherever possible, as recognized and declared by the whole section on the caciques, which is Title VII, Book VI of the Laws of the Indies, wherein for the sake of distinction, the subordinate Indians were placed under (these noble’s) dominion called «cacicazgo», transmissible from elder to elder, to their posteriority…"
The Royal Cedula was enforced in the Philippines and benefited many indigenous nobles. It can be seen very clearly and irrefutably that, during the colonial period, indigenous chiefs were equated with the Spanish Hidalgos, and the most resounding proof of the application of this comparison is the General Military Archive in Segovia, where the qualifications of "Nobility" (found in the Service Records) are attributed to those Filipinos who were admitted to the Spanish Military Academies and whose ancestors were caciques, encomenderos, notable Tagalogs, chieftains, governors or those who held positions in the municipal administration or government in all different regions of the large islands of the Archipelago, or of the many small islands of which it is composed. In the context of the ancient tradition and norms of Castilian nobility, all descendants of a noble are considered noble, regardless of fortune.
At the Real Academia de la Historia, there is also a substantial amount of records giving reference to the Philippine Islands, and while most part corresponds to the history of these islands, the Academia did not exclude among its documents the presence of many genealogical records. The archives of the Academia and its royal stamp recognized the appointments of hundreds of natives of the Philippines who, by virtue of their social position, occupied posts in the administration of the territories and were classified as "Nobles". The presence of these notables demonstrates the cultural concern of Spain in those Islands to prepare the natives and the collaboration of these in the government of the Archipelago. This aspect of Spanish rule in the Philippines appears much more strongly implemented than in the Americas. Hence in the Philippines, the local nobility, by reason of charge accorded to their social class, acquired greater importance than in the Indies of the New World.
Christianization under the Spanish Crown
With the recognition of the Spanish monarchs came the privilege of being addressed as Don or Doña. – a mark of esteem and distinction in Europe reserved for a person of noble or royal status during the colonial period. Other honors and high regard were also accorded to the Christianized Datus by the Spanish Empire. For example, the Gobernadorcillos (elected leader of the Cabezas de Barangay or the Christianized Datus) and Filipino officials of justice received the greatest consideration from the Spanish Crown officials. The colonial officials were under obligation to show them the honor corresponding to their respective duties. They were allowed to sit in the houses of the Spanish Provincial Governors, and in any other places. They were not left to remain standing. It was not permitted for Spanish Parish Priests to treat these Filipino nobles with less consideration.
The Gobernadorcillos exercised the command of the towns. They were Port Captains in coastal towns. They also had the rights and powers to elect assistants and several lieutenants and alguaciles, proportionate in number to the inhabitants of the town.
On the day on which the gobernadorcillo would take on government duties, his town would hold a grand celebration. A festive banquet would be offered in the municipal or city hall where he would occupy a seat, adorned by the coat of arms of Spain and with fanciful designs, if his social footing was of a respectable antiquity.
On holy days the town officials would go to the church, together in one group. The principalía and cuadrilleros (police patrol or assistance) formed two lines in front of the Gobernadorcillo. They would be preceded by a band playing the music as they process towards the church, where the Gobernadorcillo would occupy a seat in precedence among those of the chiefs or cabezas de barangay, who had benches of honor. After the mass, they would usually go to the parish rectory to pay their respects to the parish priest. Then, they would return to the tribunal (municipal hall or city hall) in the same order, and still accompanied by the band playing a loud double quick march called paso doble.
The gobernadorcillo was always accompanied by an alguacil or policia (police officer) whenever he went about the streets of his town.
Class symbols
At the later part of the Spanish period, this class of elite Christian landowners started to adopt a characteristic style of dress and carry regalia. They wore a distinctive type of salakot, a Philippine headdress commonly used in the archipelago since the precolonial period. Instead of the usual headgear made of rattan, of reeds called Nitó, or of various shells such as capiz shells, which common Filipinos would wear, the principales would use more prized materials like tortoise shell. The special salakot of the ruling upper class was often adorned with ornate capping spike crafted in metals of value like silver, or, at times, gold. This headgear was usually embossed also with precious metals and sometimes decorated with silver coins or pendants that hung around the rim.
It was mentioned earlier that the royalties and nobilities of the Pre-colonial societies in the Visayas, Northern Mindanao, and Luzon (Cebu, Bohol Panay, Mindoro and Manila) also shared the many customs of royalties and nobles in Southeast Asian territories (with Hindu and Buddhist cultures), especially in the generous use of gold and silk in their costumes, as the Boxer Codex demonstrate. The measure of the prince's possession of gold and slaves was proportionate to his greatness and nobility. When the Spaniards reached the shores of the Archipelago, they observed that there was hardly any "Indian" who did not possess chains and other articles of gold.
However, this way of dressing was slowly changed as colonial power took firmer grips of the local nobilities and finally ruled the Islands. By the middle of the 19th century, the Principalía's usual attire was black jacket, European trousers, salakot and colored (velvet) slippers. Many would even wear varnished shoes, such as high quality leather shoes. Their shirt was worn outside the trousers. Some sources say that the Spaniards did not allow the native Filipinos to tuck their shirts under their waistbands, nor were they allowed to have any pockets. It was said that the intention of the colonizers was to remind the natives that they remain indios regardless of the wealth and power they attain. It was a way for discriminating the natives from their Spanish overlords. The locals also used native fabrics of transparent appearance. It is believed that transparent, sheer fabric were mainly for discouraging the Indios from hiding any weapons under their shirts. However, the native nobles did not wish to be outdone in the appearance of their apparel. And so, they richly embroidered their shirts with somewhat baroque designs on delicate Piña fabric. This manner of sporting what originally was a European attire for men led the way to the development of the Barong, which later became the national costume for Filipino men.
Distinctive staffs of office were associated with the Filipino ruling class. The Gobernadorcillo would carry a tasseled cane (baston) decorated with precious metals, while his lieutenants would use some kind of wands referred to as "Vara (rama)". On occasions and ceremonies of greater solemnity, they would dress formally in frock coat and high crowned hat.
One distinctive status symbol of the Principalía families of the rural pueblos, which remain handed down to their descendants until the present time, is the ownership of a santo or religious statue. Principalía families in provinces were mostly hacienderos, who had the means and manpower to maintain and decorate carrozas or floats of sacred images, which are often processed during various religious occasions, most importantly the town fiesta and Holy Week. Those who were endowed with more material possessions and power would own images with ivory heads and hands, and crowned with gold or silver halos. From the 17th to the 19th century, Spanish missionaries established a system of sponsorship for religious images. Those who sponsored santos were called "camareros". The prestige associated to being camareros influenced the contemporary trend among well-to-do Filipino Catholic families to sponsor carrozas for processions organized during various religious festivities in the country.
Race and status
Although the principalía had many privileges, there were limitations to how much power they were entitled to under Spanish rule. A member of the principalía could never become the GovernorGeneral (Gobernador y Capitán General), nor could he become the provincial governor (alcalde mayor).Hypothetically, a member of the principalía could obtain the position of provincial governor if, for example, a noblewoman of the principalía married a Spanish man born in the Philippines (an Insular ) of an elevated social rank. In which case her children would be classified as white (or blanco). However, this did not necessarily give a guarantee that her sons would obtain the position of provincial governor. Being mestizos was not an assurance that they would be loyal enough to the Spanish crown. Such unquestionable allegiance was necessary for the colonizers in retaining control of the archipelago.
The children born of the union between the principales and the insulares, or better still, the peninsulares (a Spanish person born in Spain) are neither assured access to the highest position of power in the colony. Flexibility is known to have occurred in some cases, including that of Marcelo Azcárraga Palmero who even became interim Prime Minister of Spain on August 8, 1897, until October 4 of that same year. Azcárraga also went on to become Prime Minister of Spain again in two more separate terms of office. In 1904, he was granted Knighthood in the very exclusive Spanish chilvalric Order of the Golden Fleece — the only mestizo recipient of this prestigious award.
In the archipelago, however, most often ethnic segregation did put a stop to social mobility, even for members of the principalía – a thing that is normally expected in a colonial rule. It was not also common for principales to be too ambitious so as to pursue very strong desire for obtaining the office of Governor-General. For most part, it appears that the local nobles were inclined to be preoccupied with matters concerning their barangays and towns.
The town mayors received an annual salary of 24 pesos, which was nothing in comparison to the provincial governor's 1,600 pesos and the GovernorGeneral's 40,000 pesos. Even though the gobernadorcillo's salary was not subject to tax, it was not enough to carry out all the required duties expected of such a position. This explains why among the principales, those who had more wealth were likely to be elected to the office of gobernadorcillo (municipal governor).
Principales tend to marry those who belong to their class, to maintain wealth and power. However, unlike most European royalties who marry their close relatives, e.g. first cousins, for this purpose, Filipino nobles abhorred Incestuous unions. In some cases, members of the principalia married wealthy and nonnoble Chinese (Sangley) merchants, who made their fortune in the colony. Principales born of these unions had possibilities to be elected gobernadorcillo by their peers.
Wealth was not the only basis for intermarriage between the principales and foreigners, which were commonly prearranged by parents of the bride and groom. Neither did having a Spaniard as one of the parents of a child ennobles him. In a traditionally conservative Catholic environment with Christian mores and norms strictly imposed under the tutelage and prying eyes of Spanish friars, marriage to a divorcée or secondhand spouse (locally referred to as "tirá ng ibá", literally "others' leftovers") was scornfully disdained by Filipino aristocrats. Virgin brides were a must for the principalía, as well as for the Filipinos in general.
Children who were born outside of marriage, even of Spaniards, were not accepted in the circle of principales. These were severely ostracized in the conservative colonial society and were pejoratively called an "anák sa labás", i.e., "child from outside" (viz., outside marriage), a stigma that still remains part of the contemporary social mores.
During the last years of the regime, there were efforts to push for a representation of the archipelago in the Spanish Cortes among a good number of principales. This move was prevalent especially among those who have studied in Spain and other parts of Europe (Ilustrados). That initiative, however, was met with snobbery by the colonizers, who denied the natives of equal treatment, in any way possible.
Towards the end of the 19th century, civil unrest occurred more frequently. This situation was exposed by the writer and leader of the Propaganda Movement, José Rizal, in his two novels: Noli Me Tángere, and El Filibusterismo (dedicated to the three Filipino Catholic priests, who were executed on February 17, 1872, by Spanish colonial authorities, on charges of subversion arising from the 1872 Cavite mutiny). Because of this growing unrest that turned into an irreversible revolution, the position of provincial governor became awarded more and more often to the peninsulares. In the ecclesiastical sector, a decree was made, stating there were to be no further appointments of Filipinos as parish priests.
Status quaestionis
The recognition of the rights and privileges of the Filipino Principalía as equivalent to those of the Hidalgos of Castile appears to facilitate entrance of Filipino nobles into institutions under the Spanish Crown, either civil or religious, which required proofs of nobility. However, such approximation may not be entirely correct since in reality, although the principales were vassals of the Spanish Crown, their rights as sovereign in their former dominions were guaranteed by the Laws of the Indies, more particularly the Royal Decree of Philip II of 11 June 1594, which Charles II confirmed for the purpose stated above, to satisfy the requirements of the existing laws in the Peninsula.
From the beginning of the Spanish colonial period, the conquistador Miguel Lopez de Legaspi retained the hereditary rights of the local ancient sovereigns of the Archipelago who vowed allegiance to the Spanish Crown. Many of them accepted the Catholic religion and became Spanish allies at this time. He only demanded from these local rulers vassalage to the Spanish Crown, replacing the similar overlordship, which previously existed in a few cases, e.g., Sultanate of Brunei's overlordship of the Kingdom of Maynila. Other independent polities, which were not vassals to other States, e.g., Confederation of Madja-as and the Rajahnate of Cebu, were de facto Protectorates/Suzerainties having had alliances with the Spanish Crown before the Kingdom took total control of most parts of the Archipelago.
A question remains after the cessession of Spanish rule in the Philippines regarding any remaining rank equivalency of Filipino Principalía. Reassuming their ancestral titles as Datus while retaining the Hidalguía of Castile (their former protector state), as subsidiary title, is the logical consequence of the above-mentioned recognition by Charles II of Spain. As guaranteed by this Spanish Monarch's Royal Decree, the ancient nobility of the casiques within his realm (which includes the Filipino Principales) "is still retained and acknowledged".
Besides, the principales retained many of the ordinary obligations of local rulers as manifested in constructing local infrastructures and in maintaining the government offices without funds from Spain. Expenditures of the local government came from the private and personal resources of the principales. These were not taxes that citizens were obliged to pay as tributes required by their Spanish Crown from its subjects. In many ways, the principales retained much of the responsibilities, powers and obligations of the pre-colonial Datus – their predecessors, except for the right to organize their own armed forces. Only the right of Gobernadorcillos to appoint alguacils and "cuadrilleros" (police patrol or assistance) seem to point out to some kind of vestige of this pre-colonial sign of the Datu's coercive power and responsibility to defend his domain.
Like deposed royal families elsewhere in the world, which continue to claim hereditary rights as pretenders to the former thrones of their ancestors, the descendants of the Principalía have similar claims to the historical domains of their forebears.
See also
Filipino styles and honorifics
Gobernadorcillo
Cabeza de Barangay
Barangay state
Datu
Lakan
Maginoo
Maharlika
Timawa
Babaylan
History of the Philippines (1521–1898)
Confederation of Madja-as
Maragtas
Kingdom of Maynila
Kingdom of Namayan
Kingdom of Butuan
Rajahnate of Cebu
Sultanate of Maguindanao
Sultanate of Sulu
Confederation of Sultanates in Lanao
List of political families in the Philippines
Notes
Further reading
Luque Talaván, Miguel, Análisis Histórico-Jurídico de la Nobleza Indiana de Origen Prehispánico (Conferencia en la Escuela «Marqués de Aviles» de Genealogía, Heráldica y Nobiliaria de la «Asociación de Diplomados en Genealogía, Heráldica y Nobiliaria»).
Vicente de Cadenas y Vicent, Las Pruebas de Nobleza y Genealogia en Filipinas y Los Archivios en Donde se Pueden Encontrar Antecedentes de Ellas in Heraldica, Genealogia y Nobleza en los Editoriales de «Hidalguia», 1953–1993: 40 años de un pensamiento, Madrid: 1993, Graficas Ariás Montano, S.A.-MONTOLES, pp. 232–235.[8][8][8][8][8]
José Feced y Temprado, Manual del Gobernadorcillo en el Ejercicio de sus Atribuciones Judiciales y Escriturárias (Guia del Hombre de Negocios en Filipinas), Manila: 1867, Imp. de Ramirez y Giraudier.] Don José Feced y Temprado, Manual del Gobernadorcillo en el Ejercicio de sus Atribuciones Judiciales y Escriturárias (Guia del Hombre de Negocios en Filipinas), Manila: 1867, Imp. de Ramirez y Giraudier.
Rafael Moreno y Diez, Manual del Cabeza de Barangay en Castellano y en Tagalog, Manila: 1874, Imprenta "Amigos del Pais".
Regalado Trota Jose, The Many Images of Christ (particularly in the section: Spain retains the old class system) in DALISAY, Jose Y, ed. (1998), Kasaysayan: The Story of the Filipino People.
See also: Alfredo Reyes; CORDERO-FERNANDO, Gilda; QUIRINO, Carlos & GUTIERREZ, Manuel C, eds. Filipino Heritage: the Making of a Nation (10 vols), Manila: 1997, Lahing Pilipino Publications.
Celdrán Ruano, Julia, ed. (2009). La configuración del sistema jurídico hispano en las Islas Filipinas: orígenes y evolución (siglos XVI-XVIII) in Anales de Derecho, Vol. 27 (2009) (pdf) (in Español).
Jorge Alberto Liria Rodríguez, LA PECULIAR ADMINISTRACIÓNESPAÑOLA EN FILIPINAS (1890–1898), Las Palmas de Gran Canaria: Anroart, Asociación canaria para la difusión de la cultura y el arte , 2004.
Maura Law.
References
Honorary titles
History of the Philippines (1565–1898)
Captaincy General of the Philippines
Social class in the Philippines
People of Spanish colonial Philippines
Filipino nobility
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"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",
"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"
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"Principalía",
"Pre-colonial principalities",
"What were the pre-colonial princibalities?",
"From the beginning of the colonial period in the Philippine, the Spanish government built on the traditional pre-conquest socio-political organization of the barangay",
"How did this affect the government?",
"In other regions, even though the majority of these barangays were not large settlements, yet they had organized societies",
"What are some interesting aspects about this article?",
"The duty of the datus was to rule and govern their subjects and followers, and to assist them in their interests and necessities. What the chiefs received"
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C_c1ee7385a1ee4040be0107324666c2b9_1
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What did the chiefs recieve?
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What did the barangay chiefs receive?
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Principalía
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From the beginning of the colonial period in the Philippine, the Spanish government built on the traditional pre-conquest socio-political organization of the barangay and co-opted the traditional indigenous princes and their nobles, thereby ruling indirectly. The barangays in some coastal places in Panay, Manila, Cebu, Jolo, and Butuan, with cosmopolitan cultures and trade relations with other countries in Asia, were already established principalities (Kinadatuan) before the coming of the Spaniards. In other regions, even though the majority of these barangays were not large settlements, yet they had organized societies dominated by the same type of recognized aristocracy and lordships (with birthright claim to allegiance from followers), as those found in more established, richer and more developed principalities. The aristocratic group in these pre-colonial societies was called the datu class. Its members were presumably the descendants of the first settlers on the land or, in the case of later arrivals, of those who were datus at the time of migration or conquest. The duty of the datus was to rule and govern their subjects and followers, and to assist them in their interests and necessities. What the chiefs received from their followers was: to be held by them in great veneration and respect; and they were served in their wars and voyages, and in their tilling, sowing, fishing, and the building of their houses. The natives attended to these duties very promptly, whenever summoned by their chief. They also paid their chief tribute (which they called buwis) in varying quantities, in the crops that they gathered. The descendants of such chiefs, and their relatives, even though they did not inherit the Lordship, were held in the same respect and consideration, and were all regarded as nobles and as persons exempt from the services rendered by the others, or the plebeians (timawas). The same right of nobility and chieftainship was preserved for the women, just as for the men. Some of these principalities and lordships have remained, even until the present, in unHispanicized and mostly Lumad and Muslim parts of the Philippines, in some regions of Mindanao. CANNOTANSWER
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the chiefs received from their followers was: to be held by them in great veneration and respect; and they were served in their
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The principalía or noble class was the ruling and usually educated upper class in the pueblos of the Spanish Philippines, comprising the Gobernadorcillo, who was later referred to as Capitán Municipal (who had functions similar to a town mayor), El Teniente de Justicia (Lieutenants of Justice), and the Cabezas de Barangay (heads of the barangays) who governed the districts, former Gobernadorcillos or Municipal Captains, and Municipal lieutenants in good standing during their term of office.
The distinction or status of being part of the principalía was originally a hereditary right. However, the royal decree of December 20, 1863 (signed in the name of Queen Isabella II by the Minister of the Colonies, José de la Concha), made possible the creation of new principales under certain defined criteria, among which was the proficiency in the Castilian language. Later, wider conditions that define the principalía were stipulated in the norms provided by the Maura Law of 1893, which were never changed until Spain lost the Philippines to the United States in 1898. The Law also redefined the reference to the head of municipal government in the Spanish Philippines from Gobernadorcillo to Capitán Municipal, and extended the distinction as principales to citizens paying 50 pesos in land tax.
Prior to the Maura Law, this distinguished upper class included only those exempted from tribute (tax) to the Spanish crown. Colonial documents would refer to them as "de privilegio y gratis", in contrast to those who pay tribute ("de pago"). It was the true aristocracy and the true nobility of the Spanish Philippines, which could be roughly comparable to the patrician class in Ancient Rome. The principales (members of the principalía) traced their origin to the precolonial Maginoo ruling class of the established kingdoms, rajahnates, confederacies, and principalities, as well as the lordships of the smaller, ancient social units called barangays in the Visayas, Luzon, and Mindanao. The members of this class enjoyed exclusive privileges: only the members of the principalía were allowed to vote, be elected to public office, and be bear the titles Don or Doña. The use of the honorific addresses "Don" and "Doña" was strictly limited to what many documents during the colonial period would refer to as "vecinas y vecinos distinguidos".
For the most part, the social privileges of the nobles were freely acknowledged as befitting their greater social responsibilities. The gobernadorcillo during that period received a nominal salary and was not provided government funds for public services. In fact, more often the gobernadorcillo had to maintain governance of his municipality by looking after the post office and the jailhouse, alongside managing public infrastructure, using personal resources.
Principales also provided assistance to parishes by helping in the construction of church buildings, and in the pastoral and religious activities of the clergy who, being usually among the few Spaniards in most colonial towns, had success in winning the goodwill of the natives. More often, the clergy were the sole representatives of Spain in many parts of the archipelago. Under the Patronato Real of the Spanish crown, these Spanish churchmen were also the king's de facto ambassadors, and promoters of the realm.
With the end of Spanish sovereignty over the Philippines after the Spanish–American War in 1898 and the introduction of a democratic, republican system during the American Occupation, the principalía and their descendants lost their legal authority and social privileges. Many were, however, able to integrate into the new socio-political structure, retaining some degree of influence and power.
Historical background
Pre-colonial principalities
From the beginning of the colonial period in the Philippine, the Spanish government built on the traditional preconquest sociopolitical organization of the barangay and coopted the traditional indigenous princes and their nobles, thereby ruling indirectly. Manila, Cebu, Jolo, and Butuan, with cosmopolitan cultures and trade relations with other countries in Asia, were already established principalities (Kinadatuan) before the coming of the Spaniards. In other regions, even though the majority of these barangays were not large settlements, yet they had organized societies dominated by the same type of recognized aristocracy and lordships (with birthright claim to allegiance from followers), as those found in more established, richer and more developed principalities. The aristocratic group in these precolonial societies was called the datu class. Its members were presumably the descendants of the first settlers on the land or, in the case of later arrivals, of those who were datus at the time of migration or conquest.
The duty of the datus was to rule and govern their subjects and followers, and to assist them in their interests and necessities. What the chiefs received from their followers was: to be held by them in great veneration and respect; and they were served in their wars and voyages, and in their tilling, sowing, fishing, and the building of their houses. The natives attended to these duties very promptly, whenever summoned by their chief. They also paid their chief tribute (which they called buwis) in varying quantities, in the crops that they gathered. The descendants of such chiefs, and their relatives, even though they did not inherit the Lordship, were held in the same respect and consideration, and were all regarded as nobles and as persons exempt from the services rendered by the others, or the plebeians (timawas). The same right of nobility and chieftainship was preserved for the women, just as for the men.
Some of these principalities and lordships have remained, even until the present, in unHispanicized and mostly Lumad and Muslim parts of the Philippines, in some regions of Mindanao.
Pre-colonial principalities in the Visayas
In more developed barangays in Visayas, e.g., Panay, Bohol and Cebu (which were never conquered by Spain but were incorporated into the Spanish sphere of influence as vassals by means of pacts, peace treaties, and reciprocal alliances), the datu class was at the top of a divinely sanctioned and stable social order in a territorial jurisdiction called in the local languages as Sakop or Kinadatuan (Kadatuan in ancient Malay; Kedaton in Javanese; and Kedatuan in many parts of modern Southeast Asia), which is elsewhere commonly referred to also as barangay. This social order was divided into three classes. The Kadatuan, which is also called Tumao (members of the Visayan datu class), were compared by the Boxer Codex to the titled lords (Señores de titulo) in Spain. As Agalon or Amo (lords), the datus enjoyed an ascribed right to respect, obedience, and support from their oripun (commoner) or followers belonging to the third order. These datus had acquired rights to the same advantages from their legal "timawa" or vassals (second order), who bind themselves to the datu as his seafaring warriors. "Timawas" paid no tribute, and rendered no agricultural labor. They had a portion of the datu's blood in their veins. The Boxer Codex calls these "timawas" knights and hidalgos. The Spanish conquistador, Miguel de Loarca, described them as "free men, neither chiefs nor slaves". In the late 1600s, the Spanish Jesuit priest Fr. Francisco Ignatio Alcina, classified them as the third rank of nobility (nobleza).
To maintain purity of bloodline, datus marry only among their kind, often seeking high ranking brides in other barangays, abducting them, or contracting brideprices in gold, slaves and jewelry. Meanwhile, the datus kept their marriageable daughters secluded for protection and prestige. These wellguarded and protected highborn women were called "binokot", the datus of pure descent (four generations) were called "potli nga datu" or "lubus nga datu", while a woman of noble lineage (especially the elderly) was addressed by the Visayans (of Panay) as "uray" (meaning: pure as gold), e.g., uray Hilway.
Pre-colonial principalities in the Tagalog region
The different type of culture prevalent in Luzon gave a less stable and more complex social structure to the precolonial Tagalog barangays of Manila, Pampanga and Laguna. Enjoying a more extensive commence than those in Visayas, having the influence of Bornean political contacts, and engaging in farming wet rice for a living, the Tagalogs were described by the Spanish Augustinian Friar Martin de Rada as more traders than warriors.
The more complex social structure of the Tagalogs was less stable during the arrival of the Spaniards because it was still in a process of differentiating.
Comparison
The Jesuit priest Francisco Colin made an attempt to give an approximate comparison of it with the Visayan social structure in the middle of the seventeenth century. The term datu or lakan, or apo refers to the chief, but the noble class to which the datu belonged or could come from was the maginoo class. One may be born a maginoo, but he could become a datu by personal achievement. In the Visayas, if the datu had the personality and economic means, he could retain and restrain competing peers, relatives, and offspring. The term timawa came into use in the social structure of the Tagalogs within just twenty years after the coming of the Spaniards. The term, however, was being applied to former alipin (third class) who have escaped bondage by payment, favor, or flight. The Tagalog timawas did not have the military prominence of the Visayan timawa. The warrior class in the Tagalog society was present only in Laguna, and they were called the maharlika class. At the early part of the Spanish regime, the number of their members who were coming to rent land from their datus was increasing.
Unlike the Visayan datus, the lakans and apos of Luzon could call all nonmaginoo subjects to work in the datu's fields or do all sorts of other personal labor. In the Visayas, only the oripuns were obliged to do that, and to pay tribute besides. The Tagalog who works in the datu's field did not pay him tribute, and could transfer their allegiance to another datu. The Visayan timawa neither paid tribute nor performed agricultural labor. In a sense, they were truly aristocrats. The Tagalog maharlika did not only work in his datu's field, but could also be required to pay his own rent. Thus, all nonmaginoo formed a common economic class in some sense, though this class had no designation.
The civilization of the precolonial societies in the Visayas, northern Mindanao, and Luzon were largely influenced by Hindu and Buddhist cultures. As such, the datus who ruled these principalities (such as Butuan, Cebu, Panay, Mindoro and Manila) also shared the many customs of royalties and nobles in southeast Asian territories (with Hindu and Buddhist cultures), especially in the way they used to dress and adorn themselves with gold and silk. The Boxer Codex bears testimony to this fact. The measure of the prince's possession of gold and slaves was proportionate to his greatness and nobility. The first westerners who came to the archipelago observed that there was hardly any "Indian" who did not possess chains and other articles of gold.
Filipino nobility during the colonial period
When the Spaniards expanded their dominion to the Americas and later on to the East Indies, they encountered different cultures that existed in these territories, which possessed different social structures (more or less complex) where as a common trait among them, there was a ruling class that held power and determined the destinies of peoples and territories under its control. These elites were those that the Spaniards discovered and conquered in the New World. It was these Spanish conquerors, using European terminology, who correlated the identity of classes of the pre-Hispanic elites, alongside with the royalty or with the nobility of Europe at the time according to appropriate categories, e.g., emperor, king, etc.
The thoughts of the more notable among them give useful insights on how the first European settlers regarded the rulers of Indians in the New World. Fray Bartolome de las Casas, for example, would argue that indigenous nobles were "(...) as Princes and Infantes like those of Castile." Juan de Matienzo, during his rule of Peru, said that the "Caciques, curacas and principales are the native princes of the Indians." In the Lexicon of Fray Domingo de Santo Tomás and Diego González Holguín as well as in the work of Ludovico Bertonio, several entries included were devoted to identify the pre-Hispanic society, comparing their old titles to those of their counterpart in the Iberian peninsula. The same approach to the local society in the East Indies was used by the Spaniards.
The principalía was the first estate of the four echelons of Filipino society at the time of contact with Europeans, as described by Fr. Juan de Plasencia, a pioneer Franciscan missionary in the Philippines. Loarca and the Canon Lawyer Antonio de Morga, who classified society into three estates (ruler, ruled, slave), also affirmed the preeminence of the principales. All members of this first estate (the datu class) were principales whether they were actually occupying positions to rule or not. The Real Academia Española defines Principal as, "A person or thing that holds first place in value or importance, and is given precedence and preference before others". This Spanish term best describes the first estate of the society in the archipelago, which the Europeans came in contact with. San Buenaventura's 1613 Dictionary of the Tagalog language defines three terms that clarify the concept of principalía:
Poon or Punò (chief, leader) – principal or head of a lineage.
Ginoo – a noble by lineage and parentage, family and descent.
Maguinoo – principal in lineage or parentage.
The Spanish term Señor (lord) is equated with all these three terms, which are distinguished from the nouveau riche imitators scornfully called maygintao (man with gold or hidalgo by wealth, and not by lineage). The first estate was the class that constituted a birthright aristocracy with claims to respect, obedience, and support from those of subordinate status.
Local nobility and the Laws of the Indies
After conquering Manila and making it the capital of the colonial government in 1571, Miguel Lopez de Legaspi noted that aside from the rulers of Cebu and of the capital, the other principales existing in the Archipelago were either heads or Datus of the barangays allied as nations; or tyrants, who were respected only by the law of the strongest. From this system of the law of the strongest sprung intestinal wars with which certain dominions annihilate one another. Attentive to these existing systems of government without stripping these ancient sovereigns of their legitimate rights, Legaspi demanded from these local rulers vassalage to the Spanish Crown. On 11 June 1594, shortly before confirming Legaspi's erection of Manila as a city on June 24 of the same year, King Philip II issued a Royal Decree institutionalizing the recognition of the rights and privileges of the local ruling class of the Philippines, which was later included in the codification of the Recopilación de las leyes de los reynos de Las Indias.
In Book VI, Title VII (dedicated to the caciques) of the Recopilación de las leyes de los reynos de Las Indias, (Laws of the Indies) there are three very interesting laws insofar as they determined the role that the caciques were to play in the Indian new social order under the colonial rule. With these laws, the Spanish Crown officially recognized the rights of these principales of pre-Hispanic origin. Specifically, Laws 1, 2 (dedicated to American territories) and; Law 16, instituted by Philip II, on 11 June 1594 which is similar to the previous two, with the main purpose of assuring that the principales of the Philippines would be treated well and be entrusted with some government charge. Likewise, this provision extended to the Filipino caciques all policies concerning the Indian caciques under the Spanish rule.
To implement a system of indirect rule in the Philippines, King Philip II ordered, through this law of 11 June 1594, that the honors and privileges of governing, which were previously enjoyed by the local royalty and nobility in formerly sovereign principalities who later accepted the catholic faith and became subject to him, should be retained and protected. He also ordered the Spanish governors in the Philippines to treat these native nobles well. The king further ordered that the natives should pay to these nobles the same respect that the inhabitants accorded to their local Lords before the conquest without prejudice to the things that pertain to the king himself or to the encomenderos.
The royal decree says: "It is not right that the Indian chiefs of Filipinas be in a worse condition after conversion; rather they should have such treatment that would gain their affection and keep them loyal, so that with the spiritual blessings that God has communicated to them by calling them to His true knowledge, the temporal blessings may be added, and they may live contentedly and comfortably. Therefore, we order the governors of those islands to show them good treatment and entrust them, in our name, with the government of the Indians, of whom they were formerly lords. In all else the governors shall see that the chiefs are benefited justly, and the Indians shall pay them something as a recognition, as they did during the period of their paganism, provided this is without prejudice to the tributes that are to be paid us, or to that which pertains to their encomenderos."
Through this law, the local Filipino nobles (under the supervision of the Spanish colonial officials) became encomenderos (trustees) also of the King of Spain, who ruled the country indirectly through these nobles. Corollary to this provision, all existing doctrines and laws regarding the Indian caciques were extended to Filipino principales. Their domains became selfruled tributary barangays of the Spanish Empire.
The system of indirect government helped in the pacification of the rural areas, and institutionalized the rule and role of an upper class, referred to as the "principalía" or the "principales", until the fall of the Spanish regime in the Philippines in 1898.
The Spanish dominion brought serious modifications to the life and economy of the indigenous society. The shift of emphasis to agriculture marginalized, weakened, and deprived the hildalgolike warriors of their significance in the barangays, especially in the traderaiding societies in the Visayas (which needed the Vikinglike services of the "timawas"). By the 1580s, many of these noblemen found themselves reduced to leasing land from their datus. Their military functions were eclipsed by farming. Whatever remained would quickly be disoriented, deflected, and destroyed by the superior military power of Spain.
By the end of the 16th century, any claim to Filipino royalty, nobility or hidalguía had disappeared into a homogenized, Hispanicized and Christianized nobility – the principalía. This remnant of the precolonial royal and noble families continued to rule their traditional domain until the end of the Spanish regime. However, there were cases when succession in leadership was also done through election of new leaders (cabezas de barangay), especially in provinces near the Manila where the ancient ruling families lost their prestige and role. It appears that proximity to the seat of colonial Government diminished their power and significance. In distant territories, where the central authority had less control and where order could be maintained without using coercive measures, hereditary succession was still enforced, until Spain lost the archipelago to the Americans. These distant territories remained patriarchal societies, where people retained great respect for the principalía.
Emergence of the mestizo class
The principalía was larger and more influential than the preconquest indigenous nobility. It helped create and perpetuate an oligarchic system in the Spanish colony for more than three hundred years,
serving as a link between the Spanish authorities and the local inhabitants.
The Spanish colonial government's prohibition for foreigners to own land in the Philippines contributed to the evolution of this form of oligarchy. In some provinces of the Philippines, many Spaniards and foreign merchants intermarried with the rich and landed MalayoPolynesian local nobilities. From these unions, a new cultural group was formed, the mestizo class. Their descendants emerged later to become an influential part of the government, and of the principalía.
The increase of population in the Archipelago, as well as the growing presence of Chinese and Mestizos also brought about social changes that necessitated the creation of new members of the principalía for these sectors of Filipino colonial society. In this regard, pertinent laws were promulgated, such as the above-mentioned royal decree issued on December 20, 1863 (signed in the name of Queen Isabella II by the Minister of the Colonies, José de la Concha), which indicate certain conditions for promotion to the principalía class, among others, the capacity to speak the Castilian language. The reform also paved way to the creation of authorities among the Chinese guilds in enclaves of big settlements like Manila, on condition that these leaders were Christianized. Furthermore, Chinese Gobernadorcillos were not given jurisdiction over municipal districts. Their jurisdiction was exceptional and they only exercised this over persons belonging to their guilds.
Royal Cedula of Charles II
The emergence of the mestizo class was a social phenomenon not localized in the Philippines, but was also very much present in the American continent.
On 22 March 1697, Charles II of Spain issued a Royal Cedula, related to this phenomenon. The Cedula gave distinctions to classes of persons in the social structure of the Crown Colonies, and defined the rights and privileges of colonial functionaries. In doing so, the Spanish Monarch touched another aspect of the colonial society, i.e., the status of indigenous nobles, extending to these indigenous nobles, as well as to their descendants, the preeminence and honors customarily attributed to the Hidalgos of Castile. The Royal Cedula stipulates:
"Bearing in mind the laws and orders issued by my Progenies, Their Majesties the Kings, and by myself, I order the good treatment, assistance, protection and defense of the native Indians of America, that they may be taken cared of, maintained, privileged and honored like all other vassals of my Crown and that, in the course of time, the trial and use of them stops. I feel that its timely implementation is very suitable for public good, for the benefit of the Indians and for the service of God and mine. That, consequently, with respect to the Indian mestizos, the Archbishops and Bishops of the Indias are charged by Article 7, Title VII, Book I of the Laws of the Indies, for ordaining priests, being attentive to the qualities and circumstances present, and if some mestizas ask to be religious, they (Bishops) shall give support to those whom they admit in monasteries and for vows. But in particular, with regard to the requirements for Indians in order to accede to ecclesiastical or secular, governmental, political and military positions, which all require purity of blood and, by its Statute, the condition of nobility, there is distinction between the Indians and mestizos, inasmuch as there is between the [1] descendants of the notable Indians called caciques, and [2] those who are issues of less notable Indian tributaries, who in their pagan state acknowledged vassalage. It is deemed that all preeminence and honors, customarily conferred on the Hijosdalgos of Castile, are to be attributed to the first and to their descendants, both ecclesiastical and secular; and that they can participate in any communities which, by their statutes require nobility; for it is established that these, in their heathenism, were nobles to whom their subordinates acknowledged vassalage and to whom tributes were paid. Such kind of nobility is still retained and acknowledged, keeping these as well as their privileges wherever possible, as recognized and declared by the whole section on the caciques, which is Title VII, Book VI of the Laws of the Indies, wherein for the sake of distinction, the subordinate Indians were placed under (these noble’s) dominion called «cacicazgo», transmissible from elder to elder, to their posteriority…"
The Royal Cedula was enforced in the Philippines and benefited many indigenous nobles. It can be seen very clearly and irrefutably that, during the colonial period, indigenous chiefs were equated with the Spanish Hidalgos, and the most resounding proof of the application of this comparison is the General Military Archive in Segovia, where the qualifications of "Nobility" (found in the Service Records) are attributed to those Filipinos who were admitted to the Spanish Military Academies and whose ancestors were caciques, encomenderos, notable Tagalogs, chieftains, governors or those who held positions in the municipal administration or government in all different regions of the large islands of the Archipelago, or of the many small islands of which it is composed. In the context of the ancient tradition and norms of Castilian nobility, all descendants of a noble are considered noble, regardless of fortune.
At the Real Academia de la Historia, there is also a substantial amount of records giving reference to the Philippine Islands, and while most part corresponds to the history of these islands, the Academia did not exclude among its documents the presence of many genealogical records. The archives of the Academia and its royal stamp recognized the appointments of hundreds of natives of the Philippines who, by virtue of their social position, occupied posts in the administration of the territories and were classified as "Nobles". The presence of these notables demonstrates the cultural concern of Spain in those Islands to prepare the natives and the collaboration of these in the government of the Archipelago. This aspect of Spanish rule in the Philippines appears much more strongly implemented than in the Americas. Hence in the Philippines, the local nobility, by reason of charge accorded to their social class, acquired greater importance than in the Indies of the New World.
Christianization under the Spanish Crown
With the recognition of the Spanish monarchs came the privilege of being addressed as Don or Doña. – a mark of esteem and distinction in Europe reserved for a person of noble or royal status during the colonial period. Other honors and high regard were also accorded to the Christianized Datus by the Spanish Empire. For example, the Gobernadorcillos (elected leader of the Cabezas de Barangay or the Christianized Datus) and Filipino officials of justice received the greatest consideration from the Spanish Crown officials. The colonial officials were under obligation to show them the honor corresponding to their respective duties. They were allowed to sit in the houses of the Spanish Provincial Governors, and in any other places. They were not left to remain standing. It was not permitted for Spanish Parish Priests to treat these Filipino nobles with less consideration.
The Gobernadorcillos exercised the command of the towns. They were Port Captains in coastal towns. They also had the rights and powers to elect assistants and several lieutenants and alguaciles, proportionate in number to the inhabitants of the town.
On the day on which the gobernadorcillo would take on government duties, his town would hold a grand celebration. A festive banquet would be offered in the municipal or city hall where he would occupy a seat, adorned by the coat of arms of Spain and with fanciful designs, if his social footing was of a respectable antiquity.
On holy days the town officials would go to the church, together in one group. The principalía and cuadrilleros (police patrol or assistance) formed two lines in front of the Gobernadorcillo. They would be preceded by a band playing the music as they process towards the church, where the Gobernadorcillo would occupy a seat in precedence among those of the chiefs or cabezas de barangay, who had benches of honor. After the mass, they would usually go to the parish rectory to pay their respects to the parish priest. Then, they would return to the tribunal (municipal hall or city hall) in the same order, and still accompanied by the band playing a loud double quick march called paso doble.
The gobernadorcillo was always accompanied by an alguacil or policia (police officer) whenever he went about the streets of his town.
Class symbols
At the later part of the Spanish period, this class of elite Christian landowners started to adopt a characteristic style of dress and carry regalia. They wore a distinctive type of salakot, a Philippine headdress commonly used in the archipelago since the precolonial period. Instead of the usual headgear made of rattan, of reeds called Nitó, or of various shells such as capiz shells, which common Filipinos would wear, the principales would use more prized materials like tortoise shell. The special salakot of the ruling upper class was often adorned with ornate capping spike crafted in metals of value like silver, or, at times, gold. This headgear was usually embossed also with precious metals and sometimes decorated with silver coins or pendants that hung around the rim.
It was mentioned earlier that the royalties and nobilities of the Pre-colonial societies in the Visayas, Northern Mindanao, and Luzon (Cebu, Bohol Panay, Mindoro and Manila) also shared the many customs of royalties and nobles in Southeast Asian territories (with Hindu and Buddhist cultures), especially in the generous use of gold and silk in their costumes, as the Boxer Codex demonstrate. The measure of the prince's possession of gold and slaves was proportionate to his greatness and nobility. When the Spaniards reached the shores of the Archipelago, they observed that there was hardly any "Indian" who did not possess chains and other articles of gold.
However, this way of dressing was slowly changed as colonial power took firmer grips of the local nobilities and finally ruled the Islands. By the middle of the 19th century, the Principalía's usual attire was black jacket, European trousers, salakot and colored (velvet) slippers. Many would even wear varnished shoes, such as high quality leather shoes. Their shirt was worn outside the trousers. Some sources say that the Spaniards did not allow the native Filipinos to tuck their shirts under their waistbands, nor were they allowed to have any pockets. It was said that the intention of the colonizers was to remind the natives that they remain indios regardless of the wealth and power they attain. It was a way for discriminating the natives from their Spanish overlords. The locals also used native fabrics of transparent appearance. It is believed that transparent, sheer fabric were mainly for discouraging the Indios from hiding any weapons under their shirts. However, the native nobles did not wish to be outdone in the appearance of their apparel. And so, they richly embroidered their shirts with somewhat baroque designs on delicate Piña fabric. This manner of sporting what originally was a European attire for men led the way to the development of the Barong, which later became the national costume for Filipino men.
Distinctive staffs of office were associated with the Filipino ruling class. The Gobernadorcillo would carry a tasseled cane (baston) decorated with precious metals, while his lieutenants would use some kind of wands referred to as "Vara (rama)". On occasions and ceremonies of greater solemnity, they would dress formally in frock coat and high crowned hat.
One distinctive status symbol of the Principalía families of the rural pueblos, which remain handed down to their descendants until the present time, is the ownership of a santo or religious statue. Principalía families in provinces were mostly hacienderos, who had the means and manpower to maintain and decorate carrozas or floats of sacred images, which are often processed during various religious occasions, most importantly the town fiesta and Holy Week. Those who were endowed with more material possessions and power would own images with ivory heads and hands, and crowned with gold or silver halos. From the 17th to the 19th century, Spanish missionaries established a system of sponsorship for religious images. Those who sponsored santos were called "camareros". The prestige associated to being camareros influenced the contemporary trend among well-to-do Filipino Catholic families to sponsor carrozas for processions organized during various religious festivities in the country.
Race and status
Although the principalía had many privileges, there were limitations to how much power they were entitled to under Spanish rule. A member of the principalía could never become the GovernorGeneral (Gobernador y Capitán General), nor could he become the provincial governor (alcalde mayor).Hypothetically, a member of the principalía could obtain the position of provincial governor if, for example, a noblewoman of the principalía married a Spanish man born in the Philippines (an Insular ) of an elevated social rank. In which case her children would be classified as white (or blanco). However, this did not necessarily give a guarantee that her sons would obtain the position of provincial governor. Being mestizos was not an assurance that they would be loyal enough to the Spanish crown. Such unquestionable allegiance was necessary for the colonizers in retaining control of the archipelago.
The children born of the union between the principales and the insulares, or better still, the peninsulares (a Spanish person born in Spain) are neither assured access to the highest position of power in the colony. Flexibility is known to have occurred in some cases, including that of Marcelo Azcárraga Palmero who even became interim Prime Minister of Spain on August 8, 1897, until October 4 of that same year. Azcárraga also went on to become Prime Minister of Spain again in two more separate terms of office. In 1904, he was granted Knighthood in the very exclusive Spanish chilvalric Order of the Golden Fleece — the only mestizo recipient of this prestigious award.
In the archipelago, however, most often ethnic segregation did put a stop to social mobility, even for members of the principalía – a thing that is normally expected in a colonial rule. It was not also common for principales to be too ambitious so as to pursue very strong desire for obtaining the office of Governor-General. For most part, it appears that the local nobles were inclined to be preoccupied with matters concerning their barangays and towns.
The town mayors received an annual salary of 24 pesos, which was nothing in comparison to the provincial governor's 1,600 pesos and the GovernorGeneral's 40,000 pesos. Even though the gobernadorcillo's salary was not subject to tax, it was not enough to carry out all the required duties expected of such a position. This explains why among the principales, those who had more wealth were likely to be elected to the office of gobernadorcillo (municipal governor).
Principales tend to marry those who belong to their class, to maintain wealth and power. However, unlike most European royalties who marry their close relatives, e.g. first cousins, for this purpose, Filipino nobles abhorred Incestuous unions. In some cases, members of the principalia married wealthy and nonnoble Chinese (Sangley) merchants, who made their fortune in the colony. Principales born of these unions had possibilities to be elected gobernadorcillo by their peers.
Wealth was not the only basis for intermarriage between the principales and foreigners, which were commonly prearranged by parents of the bride and groom. Neither did having a Spaniard as one of the parents of a child ennobles him. In a traditionally conservative Catholic environment with Christian mores and norms strictly imposed under the tutelage and prying eyes of Spanish friars, marriage to a divorcée or secondhand spouse (locally referred to as "tirá ng ibá", literally "others' leftovers") was scornfully disdained by Filipino aristocrats. Virgin brides were a must for the principalía, as well as for the Filipinos in general.
Children who were born outside of marriage, even of Spaniards, were not accepted in the circle of principales. These were severely ostracized in the conservative colonial society and were pejoratively called an "anák sa labás", i.e., "child from outside" (viz., outside marriage), a stigma that still remains part of the contemporary social mores.
During the last years of the regime, there were efforts to push for a representation of the archipelago in the Spanish Cortes among a good number of principales. This move was prevalent especially among those who have studied in Spain and other parts of Europe (Ilustrados). That initiative, however, was met with snobbery by the colonizers, who denied the natives of equal treatment, in any way possible.
Towards the end of the 19th century, civil unrest occurred more frequently. This situation was exposed by the writer and leader of the Propaganda Movement, José Rizal, in his two novels: Noli Me Tángere, and El Filibusterismo (dedicated to the three Filipino Catholic priests, who were executed on February 17, 1872, by Spanish colonial authorities, on charges of subversion arising from the 1872 Cavite mutiny). Because of this growing unrest that turned into an irreversible revolution, the position of provincial governor became awarded more and more often to the peninsulares. In the ecclesiastical sector, a decree was made, stating there were to be no further appointments of Filipinos as parish priests.
Status quaestionis
The recognition of the rights and privileges of the Filipino Principalía as equivalent to those of the Hidalgos of Castile appears to facilitate entrance of Filipino nobles into institutions under the Spanish Crown, either civil or religious, which required proofs of nobility. However, such approximation may not be entirely correct since in reality, although the principales were vassals of the Spanish Crown, their rights as sovereign in their former dominions were guaranteed by the Laws of the Indies, more particularly the Royal Decree of Philip II of 11 June 1594, which Charles II confirmed for the purpose stated above, to satisfy the requirements of the existing laws in the Peninsula.
From the beginning of the Spanish colonial period, the conquistador Miguel Lopez de Legaspi retained the hereditary rights of the local ancient sovereigns of the Archipelago who vowed allegiance to the Spanish Crown. Many of them accepted the Catholic religion and became Spanish allies at this time. He only demanded from these local rulers vassalage to the Spanish Crown, replacing the similar overlordship, which previously existed in a few cases, e.g., Sultanate of Brunei's overlordship of the Kingdom of Maynila. Other independent polities, which were not vassals to other States, e.g., Confederation of Madja-as and the Rajahnate of Cebu, were de facto Protectorates/Suzerainties having had alliances with the Spanish Crown before the Kingdom took total control of most parts of the Archipelago.
A question remains after the cessession of Spanish rule in the Philippines regarding any remaining rank equivalency of Filipino Principalía. Reassuming their ancestral titles as Datus while retaining the Hidalguía of Castile (their former protector state), as subsidiary title, is the logical consequence of the above-mentioned recognition by Charles II of Spain. As guaranteed by this Spanish Monarch's Royal Decree, the ancient nobility of the casiques within his realm (which includes the Filipino Principales) "is still retained and acknowledged".
Besides, the principales retained many of the ordinary obligations of local rulers as manifested in constructing local infrastructures and in maintaining the government offices without funds from Spain. Expenditures of the local government came from the private and personal resources of the principales. These were not taxes that citizens were obliged to pay as tributes required by their Spanish Crown from its subjects. In many ways, the principales retained much of the responsibilities, powers and obligations of the pre-colonial Datus – their predecessors, except for the right to organize their own armed forces. Only the right of Gobernadorcillos to appoint alguacils and "cuadrilleros" (police patrol or assistance) seem to point out to some kind of vestige of this pre-colonial sign of the Datu's coercive power and responsibility to defend his domain.
Like deposed royal families elsewhere in the world, which continue to claim hereditary rights as pretenders to the former thrones of their ancestors, the descendants of the Principalía have similar claims to the historical domains of their forebears.
See also
Filipino styles and honorifics
Gobernadorcillo
Cabeza de Barangay
Barangay state
Datu
Lakan
Maginoo
Maharlika
Timawa
Babaylan
History of the Philippines (1521–1898)
Confederation of Madja-as
Maragtas
Kingdom of Maynila
Kingdom of Namayan
Kingdom of Butuan
Rajahnate of Cebu
Sultanate of Maguindanao
Sultanate of Sulu
Confederation of Sultanates in Lanao
List of political families in the Philippines
Notes
Further reading
Luque Talaván, Miguel, Análisis Histórico-Jurídico de la Nobleza Indiana de Origen Prehispánico (Conferencia en la Escuela «Marqués de Aviles» de Genealogía, Heráldica y Nobiliaria de la «Asociación de Diplomados en Genealogía, Heráldica y Nobiliaria»).
Vicente de Cadenas y Vicent, Las Pruebas de Nobleza y Genealogia en Filipinas y Los Archivios en Donde se Pueden Encontrar Antecedentes de Ellas in Heraldica, Genealogia y Nobleza en los Editoriales de «Hidalguia», 1953–1993: 40 años de un pensamiento, Madrid: 1993, Graficas Ariás Montano, S.A.-MONTOLES, pp. 232–235.[8][8][8][8][8]
José Feced y Temprado, Manual del Gobernadorcillo en el Ejercicio de sus Atribuciones Judiciales y Escriturárias (Guia del Hombre de Negocios en Filipinas), Manila: 1867, Imp. de Ramirez y Giraudier.] Don José Feced y Temprado, Manual del Gobernadorcillo en el Ejercicio de sus Atribuciones Judiciales y Escriturárias (Guia del Hombre de Negocios en Filipinas), Manila: 1867, Imp. de Ramirez y Giraudier.
Rafael Moreno y Diez, Manual del Cabeza de Barangay en Castellano y en Tagalog, Manila: 1874, Imprenta "Amigos del Pais".
Regalado Trota Jose, The Many Images of Christ (particularly in the section: Spain retains the old class system) in DALISAY, Jose Y, ed. (1998), Kasaysayan: The Story of the Filipino People.
See also: Alfredo Reyes; CORDERO-FERNANDO, Gilda; QUIRINO, Carlos & GUTIERREZ, Manuel C, eds. Filipino Heritage: the Making of a Nation (10 vols), Manila: 1997, Lahing Pilipino Publications.
Celdrán Ruano, Julia, ed. (2009). La configuración del sistema jurídico hispano en las Islas Filipinas: orígenes y evolución (siglos XVI-XVIII) in Anales de Derecho, Vol. 27 (2009) (pdf) (in Español).
Jorge Alberto Liria Rodríguez, LA PECULIAR ADMINISTRACIÓNESPAÑOLA EN FILIPINAS (1890–1898), Las Palmas de Gran Canaria: Anroart, Asociación canaria para la difusión de la cultura y el arte , 2004.
Maura Law.
References
Honorary titles
History of the Philippines (1565–1898)
Captaincy General of the Philippines
Social class in the Philippines
People of Spanish colonial Philippines
Filipino nobility
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[
"The 1965 Kansas City Chiefs season was the 6th season for the Kansas City Chiefs as a professional AFL franchise; they finished with a 7–5–2 record and missed the AFL playoffs.\n\nFor the 1965 season, the Chiefs were caught in the middle of the AFL and NFL's bidding wars for college talent. Kansas City made running back Gale Sayers from the University of Kansas their first-round draft pick, but Sayers eventually signed with the Chicago Bears, who had also drafted him with their first pick in the NFL's draft.\n\nThe Chiefs lost Mack Lee Hill late in the 1965 season when he suffered torn ligaments in his right knee in the next-to-last regular-season game of the year at Buffalo on December 12. Following what was expected to be a routine surgery on December 14 at Menorah Hospital in Kansas City, Hill died from what was termed \"a sudden and massive embolism.\" Hunt called Hill's death \"the worst shock possible.\" Just days after Hill's unexpected death, the mourning Chiefs defeated the Denver Broncos on December 19 to finish the year with a 7–5–2 record.\n\nSchedule\n\nNote: Intra-division opponents are in bold text.\n\nSource: Pro Football Reference\n\nStandings\n\nReferences \n\nKansas City Chiefs seasons\nKansas City Chiefs\nKansas City Chiefs",
"The 1989 season was the Kansas City Chiefs' 20th in the National Football League, their 30th overall and their first under head coach Marty Schottenheimer and general manager Carl Peterson. They improved on their 4–11–1 record from 1988 and finished with an 8–7–1 record. The Chiefs did not qualify for the playoffs in for the third straight year but did send four players to the Pro Bowl. The Chiefs Week 11 10–10 tie against the Cleveland Browns remains the most recent tie in Chiefs history.\n\nBackground \nThe Chiefs had changed coaches before, but never had the organization gone through the complete overhaul it did between the 1988 and 1989 seasons. On December 19, 1988, Lamar Hunt hired Carl Peterson as the team's new president/general manager. Peterson wasted no time in making changes. On January 5 he fired head coach Frank Gansz two weeks after taking over. On January 24 he hired Marty Schottenheimer, who was fired by Cleveland Browns owner Art Modell. Schottenheimer also cleaned house and with Peterson's help by making several roster changes, including drafting future hall of famer Derrick Thomas. Thomas later became a key part to the Chiefs defense in 90s and became one of the most popular players with fans in franchise history.\n\nSeason summary \nThe Chiefs started the season at Denver on September 10 but the Chiefs lost the opener, 34–20. The very next Sunday the Chiefs downed the Los Angeles Raiders 24–19, garnering Schottenheimer's first win as Chiefs' head coach.\n\nThe Chiefs would start the season 1–4, but soon turned things around. On October 22, Christian Okoye carried the ball 33 times for 170 yards as the Chiefs defeated the Dallas Cowboys at Arrowhead Stadium, 36–28. \n\nOn November 26, Kansas City cruised past the Houston Oilers, 34–0 to start a 3-game winning streak to give themselves a chance to make the playoffs. \n\nOn December 17, using a bruising running game and a smothering defense, the San Diego Chargers marched into Arrowhead Stadium and crushed the Chiefs' playoffs dreams. They bulldozed their way to 219 yards rushing, 176 by Marion Butts, and won 20–13. The all but eliminated the Chiefs from any chance of making the playoffs. Chiefs' quarterback Steve DeBerg was ineffective because of the chilling 18-degree weather and completed just 14 of 33 passes. Okoye constantly found his path blocked, holes jammed. The Chiefs had one final opportunity to tie the game, driving from their own 36 yard line to the San Diego 19. DeBerg's next pass into the end zone was intercepted, ending the Chiefs' chances and the game. The loss left the Chiefs needing a win at Miami on Christmas Eve, combined with losses by Indianapolis, Pittsburgh and the Raiders that day and Cincinnati on Christmas Day to make the playoffs.\n\nThe next week, the Chiefs did bounce back and defeated the Miami Dolphins for the second time in the season, 27–24 and had a winning record in the first Peterson-Schottenheimer season at 8-7-1. The Bengals, Colts and Raiders also lost that weekend; however, the Steelers won their game and final AFC Playoff spot, finishing 9-7 overall.\n\nDeBerg passed for 2,529 yards in his second season with the team. Okoye led the NFL in rushing with 1,480 yards. Stephone Paige led the receivers with 44 receptions. Rookie linebacker Derrick Thomas recorded 10 sacks.\n\nOkoye was named to the Pro Bowl along with defensive stars Albert Lewis, Kevin Ross and Thomas.\n\nOffseason\n\nNFL draft\n\nPersonnel\n\nStaff\n\nRoster\n\nSchedule\n\nNote: Intra-division opponents are in bold text.\n\nStandings\n\nReferences\n\nKansas City Chiefs\nKansas City Chiefs seasons\nKansas"
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[
"Principalía",
"Pre-colonial principalities",
"What were the pre-colonial princibalities?",
"From the beginning of the colonial period in the Philippine, the Spanish government built on the traditional pre-conquest socio-political organization of the barangay",
"How did this affect the government?",
"In other regions, even though the majority of these barangays were not large settlements, yet they had organized societies",
"What are some interesting aspects about this article?",
"The duty of the datus was to rule and govern their subjects and followers, and to assist them in their interests and necessities. What the chiefs received",
"What did the chiefs recieve?",
"the chiefs received from their followers was: to be held by them in great veneration and respect; and they were served in their"
] |
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What were they serving for?
| 5 |
What were the barangay chiefs serving for?
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Principalía
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From the beginning of the colonial period in the Philippine, the Spanish government built on the traditional pre-conquest socio-political organization of the barangay and co-opted the traditional indigenous princes and their nobles, thereby ruling indirectly. The barangays in some coastal places in Panay, Manila, Cebu, Jolo, and Butuan, with cosmopolitan cultures and trade relations with other countries in Asia, were already established principalities (Kinadatuan) before the coming of the Spaniards. In other regions, even though the majority of these barangays were not large settlements, yet they had organized societies dominated by the same type of recognized aristocracy and lordships (with birthright claim to allegiance from followers), as those found in more established, richer and more developed principalities. The aristocratic group in these pre-colonial societies was called the datu class. Its members were presumably the descendants of the first settlers on the land or, in the case of later arrivals, of those who were datus at the time of migration or conquest. The duty of the datus was to rule and govern their subjects and followers, and to assist them in their interests and necessities. What the chiefs received from their followers was: to be held by them in great veneration and respect; and they were served in their wars and voyages, and in their tilling, sowing, fishing, and the building of their houses. The natives attended to these duties very promptly, whenever summoned by their chief. They also paid their chief tribute (which they called buwis) in varying quantities, in the crops that they gathered. The descendants of such chiefs, and their relatives, even though they did not inherit the Lordship, were held in the same respect and consideration, and were all regarded as nobles and as persons exempt from the services rendered by the others, or the plebeians (timawas). The same right of nobility and chieftainship was preserved for the women, just as for the men. Some of these principalities and lordships have remained, even until the present, in unHispanicized and mostly Lumad and Muslim parts of the Philippines, in some regions of Mindanao. CANNOTANSWER
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were served in their wars and voyages, and in their tilling, sowing, fishing, and the building of their houses. The natives attended
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The principalía or noble class was the ruling and usually educated upper class in the pueblos of the Spanish Philippines, comprising the Gobernadorcillo, who was later referred to as Capitán Municipal (who had functions similar to a town mayor), El Teniente de Justicia (Lieutenants of Justice), and the Cabezas de Barangay (heads of the barangays) who governed the districts, former Gobernadorcillos or Municipal Captains, and Municipal lieutenants in good standing during their term of office.
The distinction or status of being part of the principalía was originally a hereditary right. However, the royal decree of December 20, 1863 (signed in the name of Queen Isabella II by the Minister of the Colonies, José de la Concha), made possible the creation of new principales under certain defined criteria, among which was the proficiency in the Castilian language. Later, wider conditions that define the principalía were stipulated in the norms provided by the Maura Law of 1893, which were never changed until Spain lost the Philippines to the United States in 1898. The Law also redefined the reference to the head of municipal government in the Spanish Philippines from Gobernadorcillo to Capitán Municipal, and extended the distinction as principales to citizens paying 50 pesos in land tax.
Prior to the Maura Law, this distinguished upper class included only those exempted from tribute (tax) to the Spanish crown. Colonial documents would refer to them as "de privilegio y gratis", in contrast to those who pay tribute ("de pago"). It was the true aristocracy and the true nobility of the Spanish Philippines, which could be roughly comparable to the patrician class in Ancient Rome. The principales (members of the principalía) traced their origin to the precolonial Maginoo ruling class of the established kingdoms, rajahnates, confederacies, and principalities, as well as the lordships of the smaller, ancient social units called barangays in the Visayas, Luzon, and Mindanao. The members of this class enjoyed exclusive privileges: only the members of the principalía were allowed to vote, be elected to public office, and be bear the titles Don or Doña. The use of the honorific addresses "Don" and "Doña" was strictly limited to what many documents during the colonial period would refer to as "vecinas y vecinos distinguidos".
For the most part, the social privileges of the nobles were freely acknowledged as befitting their greater social responsibilities. The gobernadorcillo during that period received a nominal salary and was not provided government funds for public services. In fact, more often the gobernadorcillo had to maintain governance of his municipality by looking after the post office and the jailhouse, alongside managing public infrastructure, using personal resources.
Principales also provided assistance to parishes by helping in the construction of church buildings, and in the pastoral and religious activities of the clergy who, being usually among the few Spaniards in most colonial towns, had success in winning the goodwill of the natives. More often, the clergy were the sole representatives of Spain in many parts of the archipelago. Under the Patronato Real of the Spanish crown, these Spanish churchmen were also the king's de facto ambassadors, and promoters of the realm.
With the end of Spanish sovereignty over the Philippines after the Spanish–American War in 1898 and the introduction of a democratic, republican system during the American Occupation, the principalía and their descendants lost their legal authority and social privileges. Many were, however, able to integrate into the new socio-political structure, retaining some degree of influence and power.
Historical background
Pre-colonial principalities
From the beginning of the colonial period in the Philippine, the Spanish government built on the traditional preconquest sociopolitical organization of the barangay and coopted the traditional indigenous princes and their nobles, thereby ruling indirectly. Manila, Cebu, Jolo, and Butuan, with cosmopolitan cultures and trade relations with other countries in Asia, were already established principalities (Kinadatuan) before the coming of the Spaniards. In other regions, even though the majority of these barangays were not large settlements, yet they had organized societies dominated by the same type of recognized aristocracy and lordships (with birthright claim to allegiance from followers), as those found in more established, richer and more developed principalities. The aristocratic group in these precolonial societies was called the datu class. Its members were presumably the descendants of the first settlers on the land or, in the case of later arrivals, of those who were datus at the time of migration or conquest.
The duty of the datus was to rule and govern their subjects and followers, and to assist them in their interests and necessities. What the chiefs received from their followers was: to be held by them in great veneration and respect; and they were served in their wars and voyages, and in their tilling, sowing, fishing, and the building of their houses. The natives attended to these duties very promptly, whenever summoned by their chief. They also paid their chief tribute (which they called buwis) in varying quantities, in the crops that they gathered. The descendants of such chiefs, and their relatives, even though they did not inherit the Lordship, were held in the same respect and consideration, and were all regarded as nobles and as persons exempt from the services rendered by the others, or the plebeians (timawas). The same right of nobility and chieftainship was preserved for the women, just as for the men.
Some of these principalities and lordships have remained, even until the present, in unHispanicized and mostly Lumad and Muslim parts of the Philippines, in some regions of Mindanao.
Pre-colonial principalities in the Visayas
In more developed barangays in Visayas, e.g., Panay, Bohol and Cebu (which were never conquered by Spain but were incorporated into the Spanish sphere of influence as vassals by means of pacts, peace treaties, and reciprocal alliances), the datu class was at the top of a divinely sanctioned and stable social order in a territorial jurisdiction called in the local languages as Sakop or Kinadatuan (Kadatuan in ancient Malay; Kedaton in Javanese; and Kedatuan in many parts of modern Southeast Asia), which is elsewhere commonly referred to also as barangay. This social order was divided into three classes. The Kadatuan, which is also called Tumao (members of the Visayan datu class), were compared by the Boxer Codex to the titled lords (Señores de titulo) in Spain. As Agalon or Amo (lords), the datus enjoyed an ascribed right to respect, obedience, and support from their oripun (commoner) or followers belonging to the third order. These datus had acquired rights to the same advantages from their legal "timawa" or vassals (second order), who bind themselves to the datu as his seafaring warriors. "Timawas" paid no tribute, and rendered no agricultural labor. They had a portion of the datu's blood in their veins. The Boxer Codex calls these "timawas" knights and hidalgos. The Spanish conquistador, Miguel de Loarca, described them as "free men, neither chiefs nor slaves". In the late 1600s, the Spanish Jesuit priest Fr. Francisco Ignatio Alcina, classified them as the third rank of nobility (nobleza).
To maintain purity of bloodline, datus marry only among their kind, often seeking high ranking brides in other barangays, abducting them, or contracting brideprices in gold, slaves and jewelry. Meanwhile, the datus kept their marriageable daughters secluded for protection and prestige. These wellguarded and protected highborn women were called "binokot", the datus of pure descent (four generations) were called "potli nga datu" or "lubus nga datu", while a woman of noble lineage (especially the elderly) was addressed by the Visayans (of Panay) as "uray" (meaning: pure as gold), e.g., uray Hilway.
Pre-colonial principalities in the Tagalog region
The different type of culture prevalent in Luzon gave a less stable and more complex social structure to the precolonial Tagalog barangays of Manila, Pampanga and Laguna. Enjoying a more extensive commence than those in Visayas, having the influence of Bornean political contacts, and engaging in farming wet rice for a living, the Tagalogs were described by the Spanish Augustinian Friar Martin de Rada as more traders than warriors.
The more complex social structure of the Tagalogs was less stable during the arrival of the Spaniards because it was still in a process of differentiating.
Comparison
The Jesuit priest Francisco Colin made an attempt to give an approximate comparison of it with the Visayan social structure in the middle of the seventeenth century. The term datu or lakan, or apo refers to the chief, but the noble class to which the datu belonged or could come from was the maginoo class. One may be born a maginoo, but he could become a datu by personal achievement. In the Visayas, if the datu had the personality and economic means, he could retain and restrain competing peers, relatives, and offspring. The term timawa came into use in the social structure of the Tagalogs within just twenty years after the coming of the Spaniards. The term, however, was being applied to former alipin (third class) who have escaped bondage by payment, favor, or flight. The Tagalog timawas did not have the military prominence of the Visayan timawa. The warrior class in the Tagalog society was present only in Laguna, and they were called the maharlika class. At the early part of the Spanish regime, the number of their members who were coming to rent land from their datus was increasing.
Unlike the Visayan datus, the lakans and apos of Luzon could call all nonmaginoo subjects to work in the datu's fields or do all sorts of other personal labor. In the Visayas, only the oripuns were obliged to do that, and to pay tribute besides. The Tagalog who works in the datu's field did not pay him tribute, and could transfer their allegiance to another datu. The Visayan timawa neither paid tribute nor performed agricultural labor. In a sense, they were truly aristocrats. The Tagalog maharlika did not only work in his datu's field, but could also be required to pay his own rent. Thus, all nonmaginoo formed a common economic class in some sense, though this class had no designation.
The civilization of the precolonial societies in the Visayas, northern Mindanao, and Luzon were largely influenced by Hindu and Buddhist cultures. As such, the datus who ruled these principalities (such as Butuan, Cebu, Panay, Mindoro and Manila) also shared the many customs of royalties and nobles in southeast Asian territories (with Hindu and Buddhist cultures), especially in the way they used to dress and adorn themselves with gold and silk. The Boxer Codex bears testimony to this fact. The measure of the prince's possession of gold and slaves was proportionate to his greatness and nobility. The first westerners who came to the archipelago observed that there was hardly any "Indian" who did not possess chains and other articles of gold.
Filipino nobility during the colonial period
When the Spaniards expanded their dominion to the Americas and later on to the East Indies, they encountered different cultures that existed in these territories, which possessed different social structures (more or less complex) where as a common trait among them, there was a ruling class that held power and determined the destinies of peoples and territories under its control. These elites were those that the Spaniards discovered and conquered in the New World. It was these Spanish conquerors, using European terminology, who correlated the identity of classes of the pre-Hispanic elites, alongside with the royalty or with the nobility of Europe at the time according to appropriate categories, e.g., emperor, king, etc.
The thoughts of the more notable among them give useful insights on how the first European settlers regarded the rulers of Indians in the New World. Fray Bartolome de las Casas, for example, would argue that indigenous nobles were "(...) as Princes and Infantes like those of Castile." Juan de Matienzo, during his rule of Peru, said that the "Caciques, curacas and principales are the native princes of the Indians." In the Lexicon of Fray Domingo de Santo Tomás and Diego González Holguín as well as in the work of Ludovico Bertonio, several entries included were devoted to identify the pre-Hispanic society, comparing their old titles to those of their counterpart in the Iberian peninsula. The same approach to the local society in the East Indies was used by the Spaniards.
The principalía was the first estate of the four echelons of Filipino society at the time of contact with Europeans, as described by Fr. Juan de Plasencia, a pioneer Franciscan missionary in the Philippines. Loarca and the Canon Lawyer Antonio de Morga, who classified society into three estates (ruler, ruled, slave), also affirmed the preeminence of the principales. All members of this first estate (the datu class) were principales whether they were actually occupying positions to rule or not. The Real Academia Española defines Principal as, "A person or thing that holds first place in value or importance, and is given precedence and preference before others". This Spanish term best describes the first estate of the society in the archipelago, which the Europeans came in contact with. San Buenaventura's 1613 Dictionary of the Tagalog language defines three terms that clarify the concept of principalía:
Poon or Punò (chief, leader) – principal or head of a lineage.
Ginoo – a noble by lineage and parentage, family and descent.
Maguinoo – principal in lineage or parentage.
The Spanish term Señor (lord) is equated with all these three terms, which are distinguished from the nouveau riche imitators scornfully called maygintao (man with gold or hidalgo by wealth, and not by lineage). The first estate was the class that constituted a birthright aristocracy with claims to respect, obedience, and support from those of subordinate status.
Local nobility and the Laws of the Indies
After conquering Manila and making it the capital of the colonial government in 1571, Miguel Lopez de Legaspi noted that aside from the rulers of Cebu and of the capital, the other principales existing in the Archipelago were either heads or Datus of the barangays allied as nations; or tyrants, who were respected only by the law of the strongest. From this system of the law of the strongest sprung intestinal wars with which certain dominions annihilate one another. Attentive to these existing systems of government without stripping these ancient sovereigns of their legitimate rights, Legaspi demanded from these local rulers vassalage to the Spanish Crown. On 11 June 1594, shortly before confirming Legaspi's erection of Manila as a city on June 24 of the same year, King Philip II issued a Royal Decree institutionalizing the recognition of the rights and privileges of the local ruling class of the Philippines, which was later included in the codification of the Recopilación de las leyes de los reynos de Las Indias.
In Book VI, Title VII (dedicated to the caciques) of the Recopilación de las leyes de los reynos de Las Indias, (Laws of the Indies) there are three very interesting laws insofar as they determined the role that the caciques were to play in the Indian new social order under the colonial rule. With these laws, the Spanish Crown officially recognized the rights of these principales of pre-Hispanic origin. Specifically, Laws 1, 2 (dedicated to American territories) and; Law 16, instituted by Philip II, on 11 June 1594 which is similar to the previous two, with the main purpose of assuring that the principales of the Philippines would be treated well and be entrusted with some government charge. Likewise, this provision extended to the Filipino caciques all policies concerning the Indian caciques under the Spanish rule.
To implement a system of indirect rule in the Philippines, King Philip II ordered, through this law of 11 June 1594, that the honors and privileges of governing, which were previously enjoyed by the local royalty and nobility in formerly sovereign principalities who later accepted the catholic faith and became subject to him, should be retained and protected. He also ordered the Spanish governors in the Philippines to treat these native nobles well. The king further ordered that the natives should pay to these nobles the same respect that the inhabitants accorded to their local Lords before the conquest without prejudice to the things that pertain to the king himself or to the encomenderos.
The royal decree says: "It is not right that the Indian chiefs of Filipinas be in a worse condition after conversion; rather they should have such treatment that would gain their affection and keep them loyal, so that with the spiritual blessings that God has communicated to them by calling them to His true knowledge, the temporal blessings may be added, and they may live contentedly and comfortably. Therefore, we order the governors of those islands to show them good treatment and entrust them, in our name, with the government of the Indians, of whom they were formerly lords. In all else the governors shall see that the chiefs are benefited justly, and the Indians shall pay them something as a recognition, as they did during the period of their paganism, provided this is without prejudice to the tributes that are to be paid us, or to that which pertains to their encomenderos."
Through this law, the local Filipino nobles (under the supervision of the Spanish colonial officials) became encomenderos (trustees) also of the King of Spain, who ruled the country indirectly through these nobles. Corollary to this provision, all existing doctrines and laws regarding the Indian caciques were extended to Filipino principales. Their domains became selfruled tributary barangays of the Spanish Empire.
The system of indirect government helped in the pacification of the rural areas, and institutionalized the rule and role of an upper class, referred to as the "principalía" or the "principales", until the fall of the Spanish regime in the Philippines in 1898.
The Spanish dominion brought serious modifications to the life and economy of the indigenous society. The shift of emphasis to agriculture marginalized, weakened, and deprived the hildalgolike warriors of their significance in the barangays, especially in the traderaiding societies in the Visayas (which needed the Vikinglike services of the "timawas"). By the 1580s, many of these noblemen found themselves reduced to leasing land from their datus. Their military functions were eclipsed by farming. Whatever remained would quickly be disoriented, deflected, and destroyed by the superior military power of Spain.
By the end of the 16th century, any claim to Filipino royalty, nobility or hidalguía had disappeared into a homogenized, Hispanicized and Christianized nobility – the principalía. This remnant of the precolonial royal and noble families continued to rule their traditional domain until the end of the Spanish regime. However, there were cases when succession in leadership was also done through election of new leaders (cabezas de barangay), especially in provinces near the Manila where the ancient ruling families lost their prestige and role. It appears that proximity to the seat of colonial Government diminished their power and significance. In distant territories, where the central authority had less control and where order could be maintained without using coercive measures, hereditary succession was still enforced, until Spain lost the archipelago to the Americans. These distant territories remained patriarchal societies, where people retained great respect for the principalía.
Emergence of the mestizo class
The principalía was larger and more influential than the preconquest indigenous nobility. It helped create and perpetuate an oligarchic system in the Spanish colony for more than three hundred years,
serving as a link between the Spanish authorities and the local inhabitants.
The Spanish colonial government's prohibition for foreigners to own land in the Philippines contributed to the evolution of this form of oligarchy. In some provinces of the Philippines, many Spaniards and foreign merchants intermarried with the rich and landed MalayoPolynesian local nobilities. From these unions, a new cultural group was formed, the mestizo class. Their descendants emerged later to become an influential part of the government, and of the principalía.
The increase of population in the Archipelago, as well as the growing presence of Chinese and Mestizos also brought about social changes that necessitated the creation of new members of the principalía for these sectors of Filipino colonial society. In this regard, pertinent laws were promulgated, such as the above-mentioned royal decree issued on December 20, 1863 (signed in the name of Queen Isabella II by the Minister of the Colonies, José de la Concha), which indicate certain conditions for promotion to the principalía class, among others, the capacity to speak the Castilian language. The reform also paved way to the creation of authorities among the Chinese guilds in enclaves of big settlements like Manila, on condition that these leaders were Christianized. Furthermore, Chinese Gobernadorcillos were not given jurisdiction over municipal districts. Their jurisdiction was exceptional and they only exercised this over persons belonging to their guilds.
Royal Cedula of Charles II
The emergence of the mestizo class was a social phenomenon not localized in the Philippines, but was also very much present in the American continent.
On 22 March 1697, Charles II of Spain issued a Royal Cedula, related to this phenomenon. The Cedula gave distinctions to classes of persons in the social structure of the Crown Colonies, and defined the rights and privileges of colonial functionaries. In doing so, the Spanish Monarch touched another aspect of the colonial society, i.e., the status of indigenous nobles, extending to these indigenous nobles, as well as to their descendants, the preeminence and honors customarily attributed to the Hidalgos of Castile. The Royal Cedula stipulates:
"Bearing in mind the laws and orders issued by my Progenies, Their Majesties the Kings, and by myself, I order the good treatment, assistance, protection and defense of the native Indians of America, that they may be taken cared of, maintained, privileged and honored like all other vassals of my Crown and that, in the course of time, the trial and use of them stops. I feel that its timely implementation is very suitable for public good, for the benefit of the Indians and for the service of God and mine. That, consequently, with respect to the Indian mestizos, the Archbishops and Bishops of the Indias are charged by Article 7, Title VII, Book I of the Laws of the Indies, for ordaining priests, being attentive to the qualities and circumstances present, and if some mestizas ask to be religious, they (Bishops) shall give support to those whom they admit in monasteries and for vows. But in particular, with regard to the requirements for Indians in order to accede to ecclesiastical or secular, governmental, political and military positions, which all require purity of blood and, by its Statute, the condition of nobility, there is distinction between the Indians and mestizos, inasmuch as there is between the [1] descendants of the notable Indians called caciques, and [2] those who are issues of less notable Indian tributaries, who in their pagan state acknowledged vassalage. It is deemed that all preeminence and honors, customarily conferred on the Hijosdalgos of Castile, are to be attributed to the first and to their descendants, both ecclesiastical and secular; and that they can participate in any communities which, by their statutes require nobility; for it is established that these, in their heathenism, were nobles to whom their subordinates acknowledged vassalage and to whom tributes were paid. Such kind of nobility is still retained and acknowledged, keeping these as well as their privileges wherever possible, as recognized and declared by the whole section on the caciques, which is Title VII, Book VI of the Laws of the Indies, wherein for the sake of distinction, the subordinate Indians were placed under (these noble’s) dominion called «cacicazgo», transmissible from elder to elder, to their posteriority…"
The Royal Cedula was enforced in the Philippines and benefited many indigenous nobles. It can be seen very clearly and irrefutably that, during the colonial period, indigenous chiefs were equated with the Spanish Hidalgos, and the most resounding proof of the application of this comparison is the General Military Archive in Segovia, where the qualifications of "Nobility" (found in the Service Records) are attributed to those Filipinos who were admitted to the Spanish Military Academies and whose ancestors were caciques, encomenderos, notable Tagalogs, chieftains, governors or those who held positions in the municipal administration or government in all different regions of the large islands of the Archipelago, or of the many small islands of which it is composed. In the context of the ancient tradition and norms of Castilian nobility, all descendants of a noble are considered noble, regardless of fortune.
At the Real Academia de la Historia, there is also a substantial amount of records giving reference to the Philippine Islands, and while most part corresponds to the history of these islands, the Academia did not exclude among its documents the presence of many genealogical records. The archives of the Academia and its royal stamp recognized the appointments of hundreds of natives of the Philippines who, by virtue of their social position, occupied posts in the administration of the territories and were classified as "Nobles". The presence of these notables demonstrates the cultural concern of Spain in those Islands to prepare the natives and the collaboration of these in the government of the Archipelago. This aspect of Spanish rule in the Philippines appears much more strongly implemented than in the Americas. Hence in the Philippines, the local nobility, by reason of charge accorded to their social class, acquired greater importance than in the Indies of the New World.
Christianization under the Spanish Crown
With the recognition of the Spanish monarchs came the privilege of being addressed as Don or Doña. – a mark of esteem and distinction in Europe reserved for a person of noble or royal status during the colonial period. Other honors and high regard were also accorded to the Christianized Datus by the Spanish Empire. For example, the Gobernadorcillos (elected leader of the Cabezas de Barangay or the Christianized Datus) and Filipino officials of justice received the greatest consideration from the Spanish Crown officials. The colonial officials were under obligation to show them the honor corresponding to their respective duties. They were allowed to sit in the houses of the Spanish Provincial Governors, and in any other places. They were not left to remain standing. It was not permitted for Spanish Parish Priests to treat these Filipino nobles with less consideration.
The Gobernadorcillos exercised the command of the towns. They were Port Captains in coastal towns. They also had the rights and powers to elect assistants and several lieutenants and alguaciles, proportionate in number to the inhabitants of the town.
On the day on which the gobernadorcillo would take on government duties, his town would hold a grand celebration. A festive banquet would be offered in the municipal or city hall where he would occupy a seat, adorned by the coat of arms of Spain and with fanciful designs, if his social footing was of a respectable antiquity.
On holy days the town officials would go to the church, together in one group. The principalía and cuadrilleros (police patrol or assistance) formed two lines in front of the Gobernadorcillo. They would be preceded by a band playing the music as they process towards the church, where the Gobernadorcillo would occupy a seat in precedence among those of the chiefs or cabezas de barangay, who had benches of honor. After the mass, they would usually go to the parish rectory to pay their respects to the parish priest. Then, they would return to the tribunal (municipal hall or city hall) in the same order, and still accompanied by the band playing a loud double quick march called paso doble.
The gobernadorcillo was always accompanied by an alguacil or policia (police officer) whenever he went about the streets of his town.
Class symbols
At the later part of the Spanish period, this class of elite Christian landowners started to adopt a characteristic style of dress and carry regalia. They wore a distinctive type of salakot, a Philippine headdress commonly used in the archipelago since the precolonial period. Instead of the usual headgear made of rattan, of reeds called Nitó, or of various shells such as capiz shells, which common Filipinos would wear, the principales would use more prized materials like tortoise shell. The special salakot of the ruling upper class was often adorned with ornate capping spike crafted in metals of value like silver, or, at times, gold. This headgear was usually embossed also with precious metals and sometimes decorated with silver coins or pendants that hung around the rim.
It was mentioned earlier that the royalties and nobilities of the Pre-colonial societies in the Visayas, Northern Mindanao, and Luzon (Cebu, Bohol Panay, Mindoro and Manila) also shared the many customs of royalties and nobles in Southeast Asian territories (with Hindu and Buddhist cultures), especially in the generous use of gold and silk in their costumes, as the Boxer Codex demonstrate. The measure of the prince's possession of gold and slaves was proportionate to his greatness and nobility. When the Spaniards reached the shores of the Archipelago, they observed that there was hardly any "Indian" who did not possess chains and other articles of gold.
However, this way of dressing was slowly changed as colonial power took firmer grips of the local nobilities and finally ruled the Islands. By the middle of the 19th century, the Principalía's usual attire was black jacket, European trousers, salakot and colored (velvet) slippers. Many would even wear varnished shoes, such as high quality leather shoes. Their shirt was worn outside the trousers. Some sources say that the Spaniards did not allow the native Filipinos to tuck their shirts under their waistbands, nor were they allowed to have any pockets. It was said that the intention of the colonizers was to remind the natives that they remain indios regardless of the wealth and power they attain. It was a way for discriminating the natives from their Spanish overlords. The locals also used native fabrics of transparent appearance. It is believed that transparent, sheer fabric were mainly for discouraging the Indios from hiding any weapons under their shirts. However, the native nobles did not wish to be outdone in the appearance of their apparel. And so, they richly embroidered their shirts with somewhat baroque designs on delicate Piña fabric. This manner of sporting what originally was a European attire for men led the way to the development of the Barong, which later became the national costume for Filipino men.
Distinctive staffs of office were associated with the Filipino ruling class. The Gobernadorcillo would carry a tasseled cane (baston) decorated with precious metals, while his lieutenants would use some kind of wands referred to as "Vara (rama)". On occasions and ceremonies of greater solemnity, they would dress formally in frock coat and high crowned hat.
One distinctive status symbol of the Principalía families of the rural pueblos, which remain handed down to their descendants until the present time, is the ownership of a santo or religious statue. Principalía families in provinces were mostly hacienderos, who had the means and manpower to maintain and decorate carrozas or floats of sacred images, which are often processed during various religious occasions, most importantly the town fiesta and Holy Week. Those who were endowed with more material possessions and power would own images with ivory heads and hands, and crowned with gold or silver halos. From the 17th to the 19th century, Spanish missionaries established a system of sponsorship for religious images. Those who sponsored santos were called "camareros". The prestige associated to being camareros influenced the contemporary trend among well-to-do Filipino Catholic families to sponsor carrozas for processions organized during various religious festivities in the country.
Race and status
Although the principalía had many privileges, there were limitations to how much power they were entitled to under Spanish rule. A member of the principalía could never become the GovernorGeneral (Gobernador y Capitán General), nor could he become the provincial governor (alcalde mayor).Hypothetically, a member of the principalía could obtain the position of provincial governor if, for example, a noblewoman of the principalía married a Spanish man born in the Philippines (an Insular ) of an elevated social rank. In which case her children would be classified as white (or blanco). However, this did not necessarily give a guarantee that her sons would obtain the position of provincial governor. Being mestizos was not an assurance that they would be loyal enough to the Spanish crown. Such unquestionable allegiance was necessary for the colonizers in retaining control of the archipelago.
The children born of the union between the principales and the insulares, or better still, the peninsulares (a Spanish person born in Spain) are neither assured access to the highest position of power in the colony. Flexibility is known to have occurred in some cases, including that of Marcelo Azcárraga Palmero who even became interim Prime Minister of Spain on August 8, 1897, until October 4 of that same year. Azcárraga also went on to become Prime Minister of Spain again in two more separate terms of office. In 1904, he was granted Knighthood in the very exclusive Spanish chilvalric Order of the Golden Fleece — the only mestizo recipient of this prestigious award.
In the archipelago, however, most often ethnic segregation did put a stop to social mobility, even for members of the principalía – a thing that is normally expected in a colonial rule. It was not also common for principales to be too ambitious so as to pursue very strong desire for obtaining the office of Governor-General. For most part, it appears that the local nobles were inclined to be preoccupied with matters concerning their barangays and towns.
The town mayors received an annual salary of 24 pesos, which was nothing in comparison to the provincial governor's 1,600 pesos and the GovernorGeneral's 40,000 pesos. Even though the gobernadorcillo's salary was not subject to tax, it was not enough to carry out all the required duties expected of such a position. This explains why among the principales, those who had more wealth were likely to be elected to the office of gobernadorcillo (municipal governor).
Principales tend to marry those who belong to their class, to maintain wealth and power. However, unlike most European royalties who marry their close relatives, e.g. first cousins, for this purpose, Filipino nobles abhorred Incestuous unions. In some cases, members of the principalia married wealthy and nonnoble Chinese (Sangley) merchants, who made their fortune in the colony. Principales born of these unions had possibilities to be elected gobernadorcillo by their peers.
Wealth was not the only basis for intermarriage between the principales and foreigners, which were commonly prearranged by parents of the bride and groom. Neither did having a Spaniard as one of the parents of a child ennobles him. In a traditionally conservative Catholic environment with Christian mores and norms strictly imposed under the tutelage and prying eyes of Spanish friars, marriage to a divorcée or secondhand spouse (locally referred to as "tirá ng ibá", literally "others' leftovers") was scornfully disdained by Filipino aristocrats. Virgin brides were a must for the principalía, as well as for the Filipinos in general.
Children who were born outside of marriage, even of Spaniards, were not accepted in the circle of principales. These were severely ostracized in the conservative colonial society and were pejoratively called an "anák sa labás", i.e., "child from outside" (viz., outside marriage), a stigma that still remains part of the contemporary social mores.
During the last years of the regime, there were efforts to push for a representation of the archipelago in the Spanish Cortes among a good number of principales. This move was prevalent especially among those who have studied in Spain and other parts of Europe (Ilustrados). That initiative, however, was met with snobbery by the colonizers, who denied the natives of equal treatment, in any way possible.
Towards the end of the 19th century, civil unrest occurred more frequently. This situation was exposed by the writer and leader of the Propaganda Movement, José Rizal, in his two novels: Noli Me Tángere, and El Filibusterismo (dedicated to the three Filipino Catholic priests, who were executed on February 17, 1872, by Spanish colonial authorities, on charges of subversion arising from the 1872 Cavite mutiny). Because of this growing unrest that turned into an irreversible revolution, the position of provincial governor became awarded more and more often to the peninsulares. In the ecclesiastical sector, a decree was made, stating there were to be no further appointments of Filipinos as parish priests.
Status quaestionis
The recognition of the rights and privileges of the Filipino Principalía as equivalent to those of the Hidalgos of Castile appears to facilitate entrance of Filipino nobles into institutions under the Spanish Crown, either civil or religious, which required proofs of nobility. However, such approximation may not be entirely correct since in reality, although the principales were vassals of the Spanish Crown, their rights as sovereign in their former dominions were guaranteed by the Laws of the Indies, more particularly the Royal Decree of Philip II of 11 June 1594, which Charles II confirmed for the purpose stated above, to satisfy the requirements of the existing laws in the Peninsula.
From the beginning of the Spanish colonial period, the conquistador Miguel Lopez de Legaspi retained the hereditary rights of the local ancient sovereigns of the Archipelago who vowed allegiance to the Spanish Crown. Many of them accepted the Catholic religion and became Spanish allies at this time. He only demanded from these local rulers vassalage to the Spanish Crown, replacing the similar overlordship, which previously existed in a few cases, e.g., Sultanate of Brunei's overlordship of the Kingdom of Maynila. Other independent polities, which were not vassals to other States, e.g., Confederation of Madja-as and the Rajahnate of Cebu, were de facto Protectorates/Suzerainties having had alliances with the Spanish Crown before the Kingdom took total control of most parts of the Archipelago.
A question remains after the cessession of Spanish rule in the Philippines regarding any remaining rank equivalency of Filipino Principalía. Reassuming their ancestral titles as Datus while retaining the Hidalguía of Castile (their former protector state), as subsidiary title, is the logical consequence of the above-mentioned recognition by Charles II of Spain. As guaranteed by this Spanish Monarch's Royal Decree, the ancient nobility of the casiques within his realm (which includes the Filipino Principales) "is still retained and acknowledged".
Besides, the principales retained many of the ordinary obligations of local rulers as manifested in constructing local infrastructures and in maintaining the government offices without funds from Spain. Expenditures of the local government came from the private and personal resources of the principales. These were not taxes that citizens were obliged to pay as tributes required by their Spanish Crown from its subjects. In many ways, the principales retained much of the responsibilities, powers and obligations of the pre-colonial Datus – their predecessors, except for the right to organize their own armed forces. Only the right of Gobernadorcillos to appoint alguacils and "cuadrilleros" (police patrol or assistance) seem to point out to some kind of vestige of this pre-colonial sign of the Datu's coercive power and responsibility to defend his domain.
Like deposed royal families elsewhere in the world, which continue to claim hereditary rights as pretenders to the former thrones of their ancestors, the descendants of the Principalía have similar claims to the historical domains of their forebears.
See also
Filipino styles and honorifics
Gobernadorcillo
Cabeza de Barangay
Barangay state
Datu
Lakan
Maginoo
Maharlika
Timawa
Babaylan
History of the Philippines (1521–1898)
Confederation of Madja-as
Maragtas
Kingdom of Maynila
Kingdom of Namayan
Kingdom of Butuan
Rajahnate of Cebu
Sultanate of Maguindanao
Sultanate of Sulu
Confederation of Sultanates in Lanao
List of political families in the Philippines
Notes
Further reading
Luque Talaván, Miguel, Análisis Histórico-Jurídico de la Nobleza Indiana de Origen Prehispánico (Conferencia en la Escuela «Marqués de Aviles» de Genealogía, Heráldica y Nobiliaria de la «Asociación de Diplomados en Genealogía, Heráldica y Nobiliaria»).
Vicente de Cadenas y Vicent, Las Pruebas de Nobleza y Genealogia en Filipinas y Los Archivios en Donde se Pueden Encontrar Antecedentes de Ellas in Heraldica, Genealogia y Nobleza en los Editoriales de «Hidalguia», 1953–1993: 40 años de un pensamiento, Madrid: 1993, Graficas Ariás Montano, S.A.-MONTOLES, pp. 232–235.[8][8][8][8][8]
José Feced y Temprado, Manual del Gobernadorcillo en el Ejercicio de sus Atribuciones Judiciales y Escriturárias (Guia del Hombre de Negocios en Filipinas), Manila: 1867, Imp. de Ramirez y Giraudier.] Don José Feced y Temprado, Manual del Gobernadorcillo en el Ejercicio de sus Atribuciones Judiciales y Escriturárias (Guia del Hombre de Negocios en Filipinas), Manila: 1867, Imp. de Ramirez y Giraudier.
Rafael Moreno y Diez, Manual del Cabeza de Barangay en Castellano y en Tagalog, Manila: 1874, Imprenta "Amigos del Pais".
Regalado Trota Jose, The Many Images of Christ (particularly in the section: Spain retains the old class system) in DALISAY, Jose Y, ed. (1998), Kasaysayan: The Story of the Filipino People.
See also: Alfredo Reyes; CORDERO-FERNANDO, Gilda; QUIRINO, Carlos & GUTIERREZ, Manuel C, eds. Filipino Heritage: the Making of a Nation (10 vols), Manila: 1997, Lahing Pilipino Publications.
Celdrán Ruano, Julia, ed. (2009). La configuración del sistema jurídico hispano en las Islas Filipinas: orígenes y evolución (siglos XVI-XVIII) in Anales de Derecho, Vol. 27 (2009) (pdf) (in Español).
Jorge Alberto Liria Rodríguez, LA PECULIAR ADMINISTRACIÓNESPAÑOLA EN FILIPINAS (1890–1898), Las Palmas de Gran Canaria: Anroart, Asociación canaria para la difusión de la cultura y el arte , 2004.
Maura Law.
References
Honorary titles
History of the Philippines (1565–1898)
Captaincy General of the Philippines
Social class in the Philippines
People of Spanish colonial Philippines
Filipino nobility
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"KVVV may refer to:\n\nKVVV-LD A low-power television station serving Houston, formerly a translator for what is now KUBE-TV (in which its call sign came from)\nKVVV-FM a radio station now KFGY\nKVVV-TV A former independent television station serving Galveston, Texas\nKVVV the ICAO airport code for Ortonville Municipal Airport",
"R v Secretary of State for the Home Department, Ex parte Doody [1993] UKHL 8, [1994] 1 AC 531 was an important UK constitutional law case concerning applications for judicial review.\n\nFacts\nFour prisoners serving mandatory life sentences requested judicial review after the Home Secretary refused to release the convicts after serving their minimum terms, but gave no reason for the decision. Under common law, there is no duty to give reason for decisions;(R(on the application of Hasan) v Secretary of State for Trade and Industry [2008] EWCA Civ 1311) however, this case is one of the exceptions.\n\nJudgment\nLord Mustill judged that the Home Secretary must give reasons for their decision. He argued that decisions made using a statutory power must be reached fairly, because all statutory powers are granted with the implicit assumption that they will be wielded fairly. As a result, he concluded it will often be necessary to allow a person to make representations, and therefore to allow them to know what they are responding to, they must be permitted to hear the reason they are having to make the representations at all.\n\nSee also\nJudicial review\n\nNotes\n\nExternal links\n Judgment on BAILII\n\nUnited Kingdom administrative case law\nHouse of Lords cases\n1993 in case law\n1993 in British law\nHome Office litigation\nUnited Kingdom constitutional case law"
] |
[
"Principalía",
"Pre-colonial principalities",
"What were the pre-colonial princibalities?",
"From the beginning of the colonial period in the Philippine, the Spanish government built on the traditional pre-conquest socio-political organization of the barangay",
"How did this affect the government?",
"In other regions, even though the majority of these barangays were not large settlements, yet they had organized societies",
"What are some interesting aspects about this article?",
"The duty of the datus was to rule and govern their subjects and followers, and to assist them in their interests and necessities. What the chiefs received",
"What did the chiefs recieve?",
"the chiefs received from their followers was: to be held by them in great veneration and respect; and they were served in their",
"What were they serving for?",
"were served in their wars and voyages, and in their tilling, sowing, fishing, and the building of their houses. The natives attended"
] |
C_c1ee7385a1ee4040be0107324666c2b9_1
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Where did the natives attend?
| 6 |
Where did the barangay natives attend?
|
Principalía
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From the beginning of the colonial period in the Philippine, the Spanish government built on the traditional pre-conquest socio-political organization of the barangay and co-opted the traditional indigenous princes and their nobles, thereby ruling indirectly. The barangays in some coastal places in Panay, Manila, Cebu, Jolo, and Butuan, with cosmopolitan cultures and trade relations with other countries in Asia, were already established principalities (Kinadatuan) before the coming of the Spaniards. In other regions, even though the majority of these barangays were not large settlements, yet they had organized societies dominated by the same type of recognized aristocracy and lordships (with birthright claim to allegiance from followers), as those found in more established, richer and more developed principalities. The aristocratic group in these pre-colonial societies was called the datu class. Its members were presumably the descendants of the first settlers on the land or, in the case of later arrivals, of those who were datus at the time of migration or conquest. The duty of the datus was to rule and govern their subjects and followers, and to assist them in their interests and necessities. What the chiefs received from their followers was: to be held by them in great veneration and respect; and they were served in their wars and voyages, and in their tilling, sowing, fishing, and the building of their houses. The natives attended to these duties very promptly, whenever summoned by their chief. They also paid their chief tribute (which they called buwis) in varying quantities, in the crops that they gathered. The descendants of such chiefs, and their relatives, even though they did not inherit the Lordship, were held in the same respect and consideration, and were all regarded as nobles and as persons exempt from the services rendered by the others, or the plebeians (timawas). The same right of nobility and chieftainship was preserved for the women, just as for the men. Some of these principalities and lordships have remained, even until the present, in unHispanicized and mostly Lumad and Muslim parts of the Philippines, in some regions of Mindanao. CANNOTANSWER
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attended to these duties very promptly, whenever summoned by their chief. They also paid their chief
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The principalía or noble class was the ruling and usually educated upper class in the pueblos of the Spanish Philippines, comprising the Gobernadorcillo, who was later referred to as Capitán Municipal (who had functions similar to a town mayor), El Teniente de Justicia (Lieutenants of Justice), and the Cabezas de Barangay (heads of the barangays) who governed the districts, former Gobernadorcillos or Municipal Captains, and Municipal lieutenants in good standing during their term of office.
The distinction or status of being part of the principalía was originally a hereditary right. However, the royal decree of December 20, 1863 (signed in the name of Queen Isabella II by the Minister of the Colonies, José de la Concha), made possible the creation of new principales under certain defined criteria, among which was the proficiency in the Castilian language. Later, wider conditions that define the principalía were stipulated in the norms provided by the Maura Law of 1893, which were never changed until Spain lost the Philippines to the United States in 1898. The Law also redefined the reference to the head of municipal government in the Spanish Philippines from Gobernadorcillo to Capitán Municipal, and extended the distinction as principales to citizens paying 50 pesos in land tax.
Prior to the Maura Law, this distinguished upper class included only those exempted from tribute (tax) to the Spanish crown. Colonial documents would refer to them as "de privilegio y gratis", in contrast to those who pay tribute ("de pago"). It was the true aristocracy and the true nobility of the Spanish Philippines, which could be roughly comparable to the patrician class in Ancient Rome. The principales (members of the principalía) traced their origin to the precolonial Maginoo ruling class of the established kingdoms, rajahnates, confederacies, and principalities, as well as the lordships of the smaller, ancient social units called barangays in the Visayas, Luzon, and Mindanao. The members of this class enjoyed exclusive privileges: only the members of the principalía were allowed to vote, be elected to public office, and be bear the titles Don or Doña. The use of the honorific addresses "Don" and "Doña" was strictly limited to what many documents during the colonial period would refer to as "vecinas y vecinos distinguidos".
For the most part, the social privileges of the nobles were freely acknowledged as befitting their greater social responsibilities. The gobernadorcillo during that period received a nominal salary and was not provided government funds for public services. In fact, more often the gobernadorcillo had to maintain governance of his municipality by looking after the post office and the jailhouse, alongside managing public infrastructure, using personal resources.
Principales also provided assistance to parishes by helping in the construction of church buildings, and in the pastoral and religious activities of the clergy who, being usually among the few Spaniards in most colonial towns, had success in winning the goodwill of the natives. More often, the clergy were the sole representatives of Spain in many parts of the archipelago. Under the Patronato Real of the Spanish crown, these Spanish churchmen were also the king's de facto ambassadors, and promoters of the realm.
With the end of Spanish sovereignty over the Philippines after the Spanish–American War in 1898 and the introduction of a democratic, republican system during the American Occupation, the principalía and their descendants lost their legal authority and social privileges. Many were, however, able to integrate into the new socio-political structure, retaining some degree of influence and power.
Historical background
Pre-colonial principalities
From the beginning of the colonial period in the Philippine, the Spanish government built on the traditional preconquest sociopolitical organization of the barangay and coopted the traditional indigenous princes and their nobles, thereby ruling indirectly. Manila, Cebu, Jolo, and Butuan, with cosmopolitan cultures and trade relations with other countries in Asia, were already established principalities (Kinadatuan) before the coming of the Spaniards. In other regions, even though the majority of these barangays were not large settlements, yet they had organized societies dominated by the same type of recognized aristocracy and lordships (with birthright claim to allegiance from followers), as those found in more established, richer and more developed principalities. The aristocratic group in these precolonial societies was called the datu class. Its members were presumably the descendants of the first settlers on the land or, in the case of later arrivals, of those who were datus at the time of migration or conquest.
The duty of the datus was to rule and govern their subjects and followers, and to assist them in their interests and necessities. What the chiefs received from their followers was: to be held by them in great veneration and respect; and they were served in their wars and voyages, and in their tilling, sowing, fishing, and the building of their houses. The natives attended to these duties very promptly, whenever summoned by their chief. They also paid their chief tribute (which they called buwis) in varying quantities, in the crops that they gathered. The descendants of such chiefs, and their relatives, even though they did not inherit the Lordship, were held in the same respect and consideration, and were all regarded as nobles and as persons exempt from the services rendered by the others, or the plebeians (timawas). The same right of nobility and chieftainship was preserved for the women, just as for the men.
Some of these principalities and lordships have remained, even until the present, in unHispanicized and mostly Lumad and Muslim parts of the Philippines, in some regions of Mindanao.
Pre-colonial principalities in the Visayas
In more developed barangays in Visayas, e.g., Panay, Bohol and Cebu (which were never conquered by Spain but were incorporated into the Spanish sphere of influence as vassals by means of pacts, peace treaties, and reciprocal alliances), the datu class was at the top of a divinely sanctioned and stable social order in a territorial jurisdiction called in the local languages as Sakop or Kinadatuan (Kadatuan in ancient Malay; Kedaton in Javanese; and Kedatuan in many parts of modern Southeast Asia), which is elsewhere commonly referred to also as barangay. This social order was divided into three classes. The Kadatuan, which is also called Tumao (members of the Visayan datu class), were compared by the Boxer Codex to the titled lords (Señores de titulo) in Spain. As Agalon or Amo (lords), the datus enjoyed an ascribed right to respect, obedience, and support from their oripun (commoner) or followers belonging to the third order. These datus had acquired rights to the same advantages from their legal "timawa" or vassals (second order), who bind themselves to the datu as his seafaring warriors. "Timawas" paid no tribute, and rendered no agricultural labor. They had a portion of the datu's blood in their veins. The Boxer Codex calls these "timawas" knights and hidalgos. The Spanish conquistador, Miguel de Loarca, described them as "free men, neither chiefs nor slaves". In the late 1600s, the Spanish Jesuit priest Fr. Francisco Ignatio Alcina, classified them as the third rank of nobility (nobleza).
To maintain purity of bloodline, datus marry only among their kind, often seeking high ranking brides in other barangays, abducting them, or contracting brideprices in gold, slaves and jewelry. Meanwhile, the datus kept their marriageable daughters secluded for protection and prestige. These wellguarded and protected highborn women were called "binokot", the datus of pure descent (four generations) were called "potli nga datu" or "lubus nga datu", while a woman of noble lineage (especially the elderly) was addressed by the Visayans (of Panay) as "uray" (meaning: pure as gold), e.g., uray Hilway.
Pre-colonial principalities in the Tagalog region
The different type of culture prevalent in Luzon gave a less stable and more complex social structure to the precolonial Tagalog barangays of Manila, Pampanga and Laguna. Enjoying a more extensive commence than those in Visayas, having the influence of Bornean political contacts, and engaging in farming wet rice for a living, the Tagalogs were described by the Spanish Augustinian Friar Martin de Rada as more traders than warriors.
The more complex social structure of the Tagalogs was less stable during the arrival of the Spaniards because it was still in a process of differentiating.
Comparison
The Jesuit priest Francisco Colin made an attempt to give an approximate comparison of it with the Visayan social structure in the middle of the seventeenth century. The term datu or lakan, or apo refers to the chief, but the noble class to which the datu belonged or could come from was the maginoo class. One may be born a maginoo, but he could become a datu by personal achievement. In the Visayas, if the datu had the personality and economic means, he could retain and restrain competing peers, relatives, and offspring. The term timawa came into use in the social structure of the Tagalogs within just twenty years after the coming of the Spaniards. The term, however, was being applied to former alipin (third class) who have escaped bondage by payment, favor, or flight. The Tagalog timawas did not have the military prominence of the Visayan timawa. The warrior class in the Tagalog society was present only in Laguna, and they were called the maharlika class. At the early part of the Spanish regime, the number of their members who were coming to rent land from their datus was increasing.
Unlike the Visayan datus, the lakans and apos of Luzon could call all nonmaginoo subjects to work in the datu's fields or do all sorts of other personal labor. In the Visayas, only the oripuns were obliged to do that, and to pay tribute besides. The Tagalog who works in the datu's field did not pay him tribute, and could transfer their allegiance to another datu. The Visayan timawa neither paid tribute nor performed agricultural labor. In a sense, they were truly aristocrats. The Tagalog maharlika did not only work in his datu's field, but could also be required to pay his own rent. Thus, all nonmaginoo formed a common economic class in some sense, though this class had no designation.
The civilization of the precolonial societies in the Visayas, northern Mindanao, and Luzon were largely influenced by Hindu and Buddhist cultures. As such, the datus who ruled these principalities (such as Butuan, Cebu, Panay, Mindoro and Manila) also shared the many customs of royalties and nobles in southeast Asian territories (with Hindu and Buddhist cultures), especially in the way they used to dress and adorn themselves with gold and silk. The Boxer Codex bears testimony to this fact. The measure of the prince's possession of gold and slaves was proportionate to his greatness and nobility. The first westerners who came to the archipelago observed that there was hardly any "Indian" who did not possess chains and other articles of gold.
Filipino nobility during the colonial period
When the Spaniards expanded their dominion to the Americas and later on to the East Indies, they encountered different cultures that existed in these territories, which possessed different social structures (more or less complex) where as a common trait among them, there was a ruling class that held power and determined the destinies of peoples and territories under its control. These elites were those that the Spaniards discovered and conquered in the New World. It was these Spanish conquerors, using European terminology, who correlated the identity of classes of the pre-Hispanic elites, alongside with the royalty or with the nobility of Europe at the time according to appropriate categories, e.g., emperor, king, etc.
The thoughts of the more notable among them give useful insights on how the first European settlers regarded the rulers of Indians in the New World. Fray Bartolome de las Casas, for example, would argue that indigenous nobles were "(...) as Princes and Infantes like those of Castile." Juan de Matienzo, during his rule of Peru, said that the "Caciques, curacas and principales are the native princes of the Indians." In the Lexicon of Fray Domingo de Santo Tomás and Diego González Holguín as well as in the work of Ludovico Bertonio, several entries included were devoted to identify the pre-Hispanic society, comparing their old titles to those of their counterpart in the Iberian peninsula. The same approach to the local society in the East Indies was used by the Spaniards.
The principalía was the first estate of the four echelons of Filipino society at the time of contact with Europeans, as described by Fr. Juan de Plasencia, a pioneer Franciscan missionary in the Philippines. Loarca and the Canon Lawyer Antonio de Morga, who classified society into three estates (ruler, ruled, slave), also affirmed the preeminence of the principales. All members of this first estate (the datu class) were principales whether they were actually occupying positions to rule or not. The Real Academia Española defines Principal as, "A person or thing that holds first place in value or importance, and is given precedence and preference before others". This Spanish term best describes the first estate of the society in the archipelago, which the Europeans came in contact with. San Buenaventura's 1613 Dictionary of the Tagalog language defines three terms that clarify the concept of principalía:
Poon or Punò (chief, leader) – principal or head of a lineage.
Ginoo – a noble by lineage and parentage, family and descent.
Maguinoo – principal in lineage or parentage.
The Spanish term Señor (lord) is equated with all these three terms, which are distinguished from the nouveau riche imitators scornfully called maygintao (man with gold or hidalgo by wealth, and not by lineage). The first estate was the class that constituted a birthright aristocracy with claims to respect, obedience, and support from those of subordinate status.
Local nobility and the Laws of the Indies
After conquering Manila and making it the capital of the colonial government in 1571, Miguel Lopez de Legaspi noted that aside from the rulers of Cebu and of the capital, the other principales existing in the Archipelago were either heads or Datus of the barangays allied as nations; or tyrants, who were respected only by the law of the strongest. From this system of the law of the strongest sprung intestinal wars with which certain dominions annihilate one another. Attentive to these existing systems of government without stripping these ancient sovereigns of their legitimate rights, Legaspi demanded from these local rulers vassalage to the Spanish Crown. On 11 June 1594, shortly before confirming Legaspi's erection of Manila as a city on June 24 of the same year, King Philip II issued a Royal Decree institutionalizing the recognition of the rights and privileges of the local ruling class of the Philippines, which was later included in the codification of the Recopilación de las leyes de los reynos de Las Indias.
In Book VI, Title VII (dedicated to the caciques) of the Recopilación de las leyes de los reynos de Las Indias, (Laws of the Indies) there are three very interesting laws insofar as they determined the role that the caciques were to play in the Indian new social order under the colonial rule. With these laws, the Spanish Crown officially recognized the rights of these principales of pre-Hispanic origin. Specifically, Laws 1, 2 (dedicated to American territories) and; Law 16, instituted by Philip II, on 11 June 1594 which is similar to the previous two, with the main purpose of assuring that the principales of the Philippines would be treated well and be entrusted with some government charge. Likewise, this provision extended to the Filipino caciques all policies concerning the Indian caciques under the Spanish rule.
To implement a system of indirect rule in the Philippines, King Philip II ordered, through this law of 11 June 1594, that the honors and privileges of governing, which were previously enjoyed by the local royalty and nobility in formerly sovereign principalities who later accepted the catholic faith and became subject to him, should be retained and protected. He also ordered the Spanish governors in the Philippines to treat these native nobles well. The king further ordered that the natives should pay to these nobles the same respect that the inhabitants accorded to their local Lords before the conquest without prejudice to the things that pertain to the king himself or to the encomenderos.
The royal decree says: "It is not right that the Indian chiefs of Filipinas be in a worse condition after conversion; rather they should have such treatment that would gain their affection and keep them loyal, so that with the spiritual blessings that God has communicated to them by calling them to His true knowledge, the temporal blessings may be added, and they may live contentedly and comfortably. Therefore, we order the governors of those islands to show them good treatment and entrust them, in our name, with the government of the Indians, of whom they were formerly lords. In all else the governors shall see that the chiefs are benefited justly, and the Indians shall pay them something as a recognition, as they did during the period of their paganism, provided this is without prejudice to the tributes that are to be paid us, or to that which pertains to their encomenderos."
Through this law, the local Filipino nobles (under the supervision of the Spanish colonial officials) became encomenderos (trustees) also of the King of Spain, who ruled the country indirectly through these nobles. Corollary to this provision, all existing doctrines and laws regarding the Indian caciques were extended to Filipino principales. Their domains became selfruled tributary barangays of the Spanish Empire.
The system of indirect government helped in the pacification of the rural areas, and institutionalized the rule and role of an upper class, referred to as the "principalía" or the "principales", until the fall of the Spanish regime in the Philippines in 1898.
The Spanish dominion brought serious modifications to the life and economy of the indigenous society. The shift of emphasis to agriculture marginalized, weakened, and deprived the hildalgolike warriors of their significance in the barangays, especially in the traderaiding societies in the Visayas (which needed the Vikinglike services of the "timawas"). By the 1580s, many of these noblemen found themselves reduced to leasing land from their datus. Their military functions were eclipsed by farming. Whatever remained would quickly be disoriented, deflected, and destroyed by the superior military power of Spain.
By the end of the 16th century, any claim to Filipino royalty, nobility or hidalguía had disappeared into a homogenized, Hispanicized and Christianized nobility – the principalía. This remnant of the precolonial royal and noble families continued to rule their traditional domain until the end of the Spanish regime. However, there were cases when succession in leadership was also done through election of new leaders (cabezas de barangay), especially in provinces near the Manila where the ancient ruling families lost their prestige and role. It appears that proximity to the seat of colonial Government diminished their power and significance. In distant territories, where the central authority had less control and where order could be maintained without using coercive measures, hereditary succession was still enforced, until Spain lost the archipelago to the Americans. These distant territories remained patriarchal societies, where people retained great respect for the principalía.
Emergence of the mestizo class
The principalía was larger and more influential than the preconquest indigenous nobility. It helped create and perpetuate an oligarchic system in the Spanish colony for more than three hundred years,
serving as a link between the Spanish authorities and the local inhabitants.
The Spanish colonial government's prohibition for foreigners to own land in the Philippines contributed to the evolution of this form of oligarchy. In some provinces of the Philippines, many Spaniards and foreign merchants intermarried with the rich and landed MalayoPolynesian local nobilities. From these unions, a new cultural group was formed, the mestizo class. Their descendants emerged later to become an influential part of the government, and of the principalía.
The increase of population in the Archipelago, as well as the growing presence of Chinese and Mestizos also brought about social changes that necessitated the creation of new members of the principalía for these sectors of Filipino colonial society. In this regard, pertinent laws were promulgated, such as the above-mentioned royal decree issued on December 20, 1863 (signed in the name of Queen Isabella II by the Minister of the Colonies, José de la Concha), which indicate certain conditions for promotion to the principalía class, among others, the capacity to speak the Castilian language. The reform also paved way to the creation of authorities among the Chinese guilds in enclaves of big settlements like Manila, on condition that these leaders were Christianized. Furthermore, Chinese Gobernadorcillos were not given jurisdiction over municipal districts. Their jurisdiction was exceptional and they only exercised this over persons belonging to their guilds.
Royal Cedula of Charles II
The emergence of the mestizo class was a social phenomenon not localized in the Philippines, but was also very much present in the American continent.
On 22 March 1697, Charles II of Spain issued a Royal Cedula, related to this phenomenon. The Cedula gave distinctions to classes of persons in the social structure of the Crown Colonies, and defined the rights and privileges of colonial functionaries. In doing so, the Spanish Monarch touched another aspect of the colonial society, i.e., the status of indigenous nobles, extending to these indigenous nobles, as well as to their descendants, the preeminence and honors customarily attributed to the Hidalgos of Castile. The Royal Cedula stipulates:
"Bearing in mind the laws and orders issued by my Progenies, Their Majesties the Kings, and by myself, I order the good treatment, assistance, protection and defense of the native Indians of America, that they may be taken cared of, maintained, privileged and honored like all other vassals of my Crown and that, in the course of time, the trial and use of them stops. I feel that its timely implementation is very suitable for public good, for the benefit of the Indians and for the service of God and mine. That, consequently, with respect to the Indian mestizos, the Archbishops and Bishops of the Indias are charged by Article 7, Title VII, Book I of the Laws of the Indies, for ordaining priests, being attentive to the qualities and circumstances present, and if some mestizas ask to be religious, they (Bishops) shall give support to those whom they admit in monasteries and for vows. But in particular, with regard to the requirements for Indians in order to accede to ecclesiastical or secular, governmental, political and military positions, which all require purity of blood and, by its Statute, the condition of nobility, there is distinction between the Indians and mestizos, inasmuch as there is between the [1] descendants of the notable Indians called caciques, and [2] those who are issues of less notable Indian tributaries, who in their pagan state acknowledged vassalage. It is deemed that all preeminence and honors, customarily conferred on the Hijosdalgos of Castile, are to be attributed to the first and to their descendants, both ecclesiastical and secular; and that they can participate in any communities which, by their statutes require nobility; for it is established that these, in their heathenism, were nobles to whom their subordinates acknowledged vassalage and to whom tributes were paid. Such kind of nobility is still retained and acknowledged, keeping these as well as their privileges wherever possible, as recognized and declared by the whole section on the caciques, which is Title VII, Book VI of the Laws of the Indies, wherein for the sake of distinction, the subordinate Indians were placed under (these noble’s) dominion called «cacicazgo», transmissible from elder to elder, to their posteriority…"
The Royal Cedula was enforced in the Philippines and benefited many indigenous nobles. It can be seen very clearly and irrefutably that, during the colonial period, indigenous chiefs were equated with the Spanish Hidalgos, and the most resounding proof of the application of this comparison is the General Military Archive in Segovia, where the qualifications of "Nobility" (found in the Service Records) are attributed to those Filipinos who were admitted to the Spanish Military Academies and whose ancestors were caciques, encomenderos, notable Tagalogs, chieftains, governors or those who held positions in the municipal administration or government in all different regions of the large islands of the Archipelago, or of the many small islands of which it is composed. In the context of the ancient tradition and norms of Castilian nobility, all descendants of a noble are considered noble, regardless of fortune.
At the Real Academia de la Historia, there is also a substantial amount of records giving reference to the Philippine Islands, and while most part corresponds to the history of these islands, the Academia did not exclude among its documents the presence of many genealogical records. The archives of the Academia and its royal stamp recognized the appointments of hundreds of natives of the Philippines who, by virtue of their social position, occupied posts in the administration of the territories and were classified as "Nobles". The presence of these notables demonstrates the cultural concern of Spain in those Islands to prepare the natives and the collaboration of these in the government of the Archipelago. This aspect of Spanish rule in the Philippines appears much more strongly implemented than in the Americas. Hence in the Philippines, the local nobility, by reason of charge accorded to their social class, acquired greater importance than in the Indies of the New World.
Christianization under the Spanish Crown
With the recognition of the Spanish monarchs came the privilege of being addressed as Don or Doña. – a mark of esteem and distinction in Europe reserved for a person of noble or royal status during the colonial period. Other honors and high regard were also accorded to the Christianized Datus by the Spanish Empire. For example, the Gobernadorcillos (elected leader of the Cabezas de Barangay or the Christianized Datus) and Filipino officials of justice received the greatest consideration from the Spanish Crown officials. The colonial officials were under obligation to show them the honor corresponding to their respective duties. They were allowed to sit in the houses of the Spanish Provincial Governors, and in any other places. They were not left to remain standing. It was not permitted for Spanish Parish Priests to treat these Filipino nobles with less consideration.
The Gobernadorcillos exercised the command of the towns. They were Port Captains in coastal towns. They also had the rights and powers to elect assistants and several lieutenants and alguaciles, proportionate in number to the inhabitants of the town.
On the day on which the gobernadorcillo would take on government duties, his town would hold a grand celebration. A festive banquet would be offered in the municipal or city hall where he would occupy a seat, adorned by the coat of arms of Spain and with fanciful designs, if his social footing was of a respectable antiquity.
On holy days the town officials would go to the church, together in one group. The principalía and cuadrilleros (police patrol or assistance) formed two lines in front of the Gobernadorcillo. They would be preceded by a band playing the music as they process towards the church, where the Gobernadorcillo would occupy a seat in precedence among those of the chiefs or cabezas de barangay, who had benches of honor. After the mass, they would usually go to the parish rectory to pay their respects to the parish priest. Then, they would return to the tribunal (municipal hall or city hall) in the same order, and still accompanied by the band playing a loud double quick march called paso doble.
The gobernadorcillo was always accompanied by an alguacil or policia (police officer) whenever he went about the streets of his town.
Class symbols
At the later part of the Spanish period, this class of elite Christian landowners started to adopt a characteristic style of dress and carry regalia. They wore a distinctive type of salakot, a Philippine headdress commonly used in the archipelago since the precolonial period. Instead of the usual headgear made of rattan, of reeds called Nitó, or of various shells such as capiz shells, which common Filipinos would wear, the principales would use more prized materials like tortoise shell. The special salakot of the ruling upper class was often adorned with ornate capping spike crafted in metals of value like silver, or, at times, gold. This headgear was usually embossed also with precious metals and sometimes decorated with silver coins or pendants that hung around the rim.
It was mentioned earlier that the royalties and nobilities of the Pre-colonial societies in the Visayas, Northern Mindanao, and Luzon (Cebu, Bohol Panay, Mindoro and Manila) also shared the many customs of royalties and nobles in Southeast Asian territories (with Hindu and Buddhist cultures), especially in the generous use of gold and silk in their costumes, as the Boxer Codex demonstrate. The measure of the prince's possession of gold and slaves was proportionate to his greatness and nobility. When the Spaniards reached the shores of the Archipelago, they observed that there was hardly any "Indian" who did not possess chains and other articles of gold.
However, this way of dressing was slowly changed as colonial power took firmer grips of the local nobilities and finally ruled the Islands. By the middle of the 19th century, the Principalía's usual attire was black jacket, European trousers, salakot and colored (velvet) slippers. Many would even wear varnished shoes, such as high quality leather shoes. Their shirt was worn outside the trousers. Some sources say that the Spaniards did not allow the native Filipinos to tuck their shirts under their waistbands, nor were they allowed to have any pockets. It was said that the intention of the colonizers was to remind the natives that they remain indios regardless of the wealth and power they attain. It was a way for discriminating the natives from their Spanish overlords. The locals also used native fabrics of transparent appearance. It is believed that transparent, sheer fabric were mainly for discouraging the Indios from hiding any weapons under their shirts. However, the native nobles did not wish to be outdone in the appearance of their apparel. And so, they richly embroidered their shirts with somewhat baroque designs on delicate Piña fabric. This manner of sporting what originally was a European attire for men led the way to the development of the Barong, which later became the national costume for Filipino men.
Distinctive staffs of office were associated with the Filipino ruling class. The Gobernadorcillo would carry a tasseled cane (baston) decorated with precious metals, while his lieutenants would use some kind of wands referred to as "Vara (rama)". On occasions and ceremonies of greater solemnity, they would dress formally in frock coat and high crowned hat.
One distinctive status symbol of the Principalía families of the rural pueblos, which remain handed down to their descendants until the present time, is the ownership of a santo or religious statue. Principalía families in provinces were mostly hacienderos, who had the means and manpower to maintain and decorate carrozas or floats of sacred images, which are often processed during various religious occasions, most importantly the town fiesta and Holy Week. Those who were endowed with more material possessions and power would own images with ivory heads and hands, and crowned with gold or silver halos. From the 17th to the 19th century, Spanish missionaries established a system of sponsorship for religious images. Those who sponsored santos were called "camareros". The prestige associated to being camareros influenced the contemporary trend among well-to-do Filipino Catholic families to sponsor carrozas for processions organized during various religious festivities in the country.
Race and status
Although the principalía had many privileges, there were limitations to how much power they were entitled to under Spanish rule. A member of the principalía could never become the GovernorGeneral (Gobernador y Capitán General), nor could he become the provincial governor (alcalde mayor).Hypothetically, a member of the principalía could obtain the position of provincial governor if, for example, a noblewoman of the principalía married a Spanish man born in the Philippines (an Insular ) of an elevated social rank. In which case her children would be classified as white (or blanco). However, this did not necessarily give a guarantee that her sons would obtain the position of provincial governor. Being mestizos was not an assurance that they would be loyal enough to the Spanish crown. Such unquestionable allegiance was necessary for the colonizers in retaining control of the archipelago.
The children born of the union between the principales and the insulares, or better still, the peninsulares (a Spanish person born in Spain) are neither assured access to the highest position of power in the colony. Flexibility is known to have occurred in some cases, including that of Marcelo Azcárraga Palmero who even became interim Prime Minister of Spain on August 8, 1897, until October 4 of that same year. Azcárraga also went on to become Prime Minister of Spain again in two more separate terms of office. In 1904, he was granted Knighthood in the very exclusive Spanish chilvalric Order of the Golden Fleece — the only mestizo recipient of this prestigious award.
In the archipelago, however, most often ethnic segregation did put a stop to social mobility, even for members of the principalía – a thing that is normally expected in a colonial rule. It was not also common for principales to be too ambitious so as to pursue very strong desire for obtaining the office of Governor-General. For most part, it appears that the local nobles were inclined to be preoccupied with matters concerning their barangays and towns.
The town mayors received an annual salary of 24 pesos, which was nothing in comparison to the provincial governor's 1,600 pesos and the GovernorGeneral's 40,000 pesos. Even though the gobernadorcillo's salary was not subject to tax, it was not enough to carry out all the required duties expected of such a position. This explains why among the principales, those who had more wealth were likely to be elected to the office of gobernadorcillo (municipal governor).
Principales tend to marry those who belong to their class, to maintain wealth and power. However, unlike most European royalties who marry their close relatives, e.g. first cousins, for this purpose, Filipino nobles abhorred Incestuous unions. In some cases, members of the principalia married wealthy and nonnoble Chinese (Sangley) merchants, who made their fortune in the colony. Principales born of these unions had possibilities to be elected gobernadorcillo by their peers.
Wealth was not the only basis for intermarriage between the principales and foreigners, which were commonly prearranged by parents of the bride and groom. Neither did having a Spaniard as one of the parents of a child ennobles him. In a traditionally conservative Catholic environment with Christian mores and norms strictly imposed under the tutelage and prying eyes of Spanish friars, marriage to a divorcée or secondhand spouse (locally referred to as "tirá ng ibá", literally "others' leftovers") was scornfully disdained by Filipino aristocrats. Virgin brides were a must for the principalía, as well as for the Filipinos in general.
Children who were born outside of marriage, even of Spaniards, were not accepted in the circle of principales. These were severely ostracized in the conservative colonial society and were pejoratively called an "anák sa labás", i.e., "child from outside" (viz., outside marriage), a stigma that still remains part of the contemporary social mores.
During the last years of the regime, there were efforts to push for a representation of the archipelago in the Spanish Cortes among a good number of principales. This move was prevalent especially among those who have studied in Spain and other parts of Europe (Ilustrados). That initiative, however, was met with snobbery by the colonizers, who denied the natives of equal treatment, in any way possible.
Towards the end of the 19th century, civil unrest occurred more frequently. This situation was exposed by the writer and leader of the Propaganda Movement, José Rizal, in his two novels: Noli Me Tángere, and El Filibusterismo (dedicated to the three Filipino Catholic priests, who were executed on February 17, 1872, by Spanish colonial authorities, on charges of subversion arising from the 1872 Cavite mutiny). Because of this growing unrest that turned into an irreversible revolution, the position of provincial governor became awarded more and more often to the peninsulares. In the ecclesiastical sector, a decree was made, stating there were to be no further appointments of Filipinos as parish priests.
Status quaestionis
The recognition of the rights and privileges of the Filipino Principalía as equivalent to those of the Hidalgos of Castile appears to facilitate entrance of Filipino nobles into institutions under the Spanish Crown, either civil or religious, which required proofs of nobility. However, such approximation may not be entirely correct since in reality, although the principales were vassals of the Spanish Crown, their rights as sovereign in their former dominions were guaranteed by the Laws of the Indies, more particularly the Royal Decree of Philip II of 11 June 1594, which Charles II confirmed for the purpose stated above, to satisfy the requirements of the existing laws in the Peninsula.
From the beginning of the Spanish colonial period, the conquistador Miguel Lopez de Legaspi retained the hereditary rights of the local ancient sovereigns of the Archipelago who vowed allegiance to the Spanish Crown. Many of them accepted the Catholic religion and became Spanish allies at this time. He only demanded from these local rulers vassalage to the Spanish Crown, replacing the similar overlordship, which previously existed in a few cases, e.g., Sultanate of Brunei's overlordship of the Kingdom of Maynila. Other independent polities, which were not vassals to other States, e.g., Confederation of Madja-as and the Rajahnate of Cebu, were de facto Protectorates/Suzerainties having had alliances with the Spanish Crown before the Kingdom took total control of most parts of the Archipelago.
A question remains after the cessession of Spanish rule in the Philippines regarding any remaining rank equivalency of Filipino Principalía. Reassuming their ancestral titles as Datus while retaining the Hidalguía of Castile (their former protector state), as subsidiary title, is the logical consequence of the above-mentioned recognition by Charles II of Spain. As guaranteed by this Spanish Monarch's Royal Decree, the ancient nobility of the casiques within his realm (which includes the Filipino Principales) "is still retained and acknowledged".
Besides, the principales retained many of the ordinary obligations of local rulers as manifested in constructing local infrastructures and in maintaining the government offices without funds from Spain. Expenditures of the local government came from the private and personal resources of the principales. These were not taxes that citizens were obliged to pay as tributes required by their Spanish Crown from its subjects. In many ways, the principales retained much of the responsibilities, powers and obligations of the pre-colonial Datus – their predecessors, except for the right to organize their own armed forces. Only the right of Gobernadorcillos to appoint alguacils and "cuadrilleros" (police patrol or assistance) seem to point out to some kind of vestige of this pre-colonial sign of the Datu's coercive power and responsibility to defend his domain.
Like deposed royal families elsewhere in the world, which continue to claim hereditary rights as pretenders to the former thrones of their ancestors, the descendants of the Principalía have similar claims to the historical domains of their forebears.
See also
Filipino styles and honorifics
Gobernadorcillo
Cabeza de Barangay
Barangay state
Datu
Lakan
Maginoo
Maharlika
Timawa
Babaylan
History of the Philippines (1521–1898)
Confederation of Madja-as
Maragtas
Kingdom of Maynila
Kingdom of Namayan
Kingdom of Butuan
Rajahnate of Cebu
Sultanate of Maguindanao
Sultanate of Sulu
Confederation of Sultanates in Lanao
List of political families in the Philippines
Notes
Further reading
Luque Talaván, Miguel, Análisis Histórico-Jurídico de la Nobleza Indiana de Origen Prehispánico (Conferencia en la Escuela «Marqués de Aviles» de Genealogía, Heráldica y Nobiliaria de la «Asociación de Diplomados en Genealogía, Heráldica y Nobiliaria»).
Vicente de Cadenas y Vicent, Las Pruebas de Nobleza y Genealogia en Filipinas y Los Archivios en Donde se Pueden Encontrar Antecedentes de Ellas in Heraldica, Genealogia y Nobleza en los Editoriales de «Hidalguia», 1953–1993: 40 años de un pensamiento, Madrid: 1993, Graficas Ariás Montano, S.A.-MONTOLES, pp. 232–235.[8][8][8][8][8]
José Feced y Temprado, Manual del Gobernadorcillo en el Ejercicio de sus Atribuciones Judiciales y Escriturárias (Guia del Hombre de Negocios en Filipinas), Manila: 1867, Imp. de Ramirez y Giraudier.] Don José Feced y Temprado, Manual del Gobernadorcillo en el Ejercicio de sus Atribuciones Judiciales y Escriturárias (Guia del Hombre de Negocios en Filipinas), Manila: 1867, Imp. de Ramirez y Giraudier.
Rafael Moreno y Diez, Manual del Cabeza de Barangay en Castellano y en Tagalog, Manila: 1874, Imprenta "Amigos del Pais".
Regalado Trota Jose, The Many Images of Christ (particularly in the section: Spain retains the old class system) in DALISAY, Jose Y, ed. (1998), Kasaysayan: The Story of the Filipino People.
See also: Alfredo Reyes; CORDERO-FERNANDO, Gilda; QUIRINO, Carlos & GUTIERREZ, Manuel C, eds. Filipino Heritage: the Making of a Nation (10 vols), Manila: 1997, Lahing Pilipino Publications.
Celdrán Ruano, Julia, ed. (2009). La configuración del sistema jurídico hispano en las Islas Filipinas: orígenes y evolución (siglos XVI-XVIII) in Anales de Derecho, Vol. 27 (2009) (pdf) (in Español).
Jorge Alberto Liria Rodríguez, LA PECULIAR ADMINISTRACIÓNESPAÑOLA EN FILIPINAS (1890–1898), Las Palmas de Gran Canaria: Anroart, Asociación canaria para la difusión de la cultura y el arte , 2004.
Maura Law.
References
Honorary titles
History of the Philippines (1565–1898)
Captaincy General of the Philippines
Social class in the Philippines
People of Spanish colonial Philippines
Filipino nobility
| true |
[
"The Neepawa Titans are a Canadian Junior \"A\" ice hockey team from Neepawa, Manitoba. They are members of the Manitoba Junior Hockey League (MJHL), a part of the Canadian Junior Hockey League, and play home games at the Yellowhead Centre.\n\nHistory\n\nNeepawa Natives (1989–2021)\n\n Neepawa's MJHL team was founded in 1989 as the Neepawa Natives. The creation of the original team name was rooted in the early 1960s, with the then-named Neepawa Intermediates hockey team. In 1963, Ron Guinn and Cecil Pittman suggested the Neepawa Intermediates should create an actual team name for the Neepawa-based hockey club. A name that would connect to Neepawa (a Cree name meaning abundance or plenty) was explored. The name 'Natives' was selected because Neepawa and Natives both start with the letter 'N', and were seven letters long, which led Pittman and Guinn to believe it was a good fit for the team. They were also influenced by the many sports teams, throughout all of North America, that already had logos and team names that were Native American-themed. For example, the Cleveland Indians took their name in 1915. Scores of North American high schools and colleges also adopted Native American-themed team names and logos in the 1920s and 1930s.\n\nThe name would go on to be used by the intermediate team, who would play in the Inter Ridge Hockey League, the Central Plains Hockey League and the South West Hockey League in the 1960s and 1970s. In 1989, Neepawa was accepted into the MJHL and was in need of creating its own team name and identity. Wanting to respect the hockey history created by that Neepawa Intermediates team, it was decided to use the Natives name for the community's new Junior 'A' Hockey club. The Natives name was gradually adopted by Neepawa Minor Hockey for its youth teams.\n\nThe Neepawa Natives had many successful seasons reaching the MJHL Finals in 1996 and the meeting in the division finals seven times.\n\nHazing incident\nIn October 2011, a 15-year-old player came forward with allegations of sexual-based rookie hazing within the team's locker room. The victim's mother said her son was forced to walk around the team locker room with a set of water bottles tied to his scrotum and that assistant coach Brad Biggers was allegedly present in the dressing room at the time. As a result, the Royal Canadian Mounted Police opened an investigation of the incident and the MJHL hired an independent investigator to look into the incident. \n\nFollowing its investigation, the MJHL levied a record $5000 fine against the team and a total of 18 suspensions to team players and personnel, as well an indefinite suspension to Biggers, preventing him from coaching for any team affiliated with Hockey Canada. Head coach and general manager Bryant Perrier, who initially reported the incident to the league, left his post shortly thereafter and also received an indefinite ban from the MJHL (which has since been rescinded). The team later issued an apology to the hazing victims, its staff, sponsors, fans, and local community. No criminal charges were laid by the RCMP.\n\nNeepawa Titans (2021–present)\nIn July 2020, the team announced the intention to change its name and logo in response to growing pressure for sports teams to remove names and logos considered offensive to Indigenous peoples. The team's new name (Neepawa Titans) and logo, inspired by the Vegas Golden Knights theme, were unveiled in June 2021. Among the other nicknames considered were the Bulls, Thunder, Salt Dogs and Generals.\n\nSeason-by-season record\nNote: GP = games played, W = wins, L = losses, T = ties, OTL = overtime losses, GF = goals for, GA = goals against, DNQ = did not qualify\n\nPlayoffs\n1990 DNQ\n1991 Lost Quarter-final\nWinnipeg South Blues defeated Neepawa Natives 4-games-to-none\n1992 Lost Quarter-final\nSt. James Canadians defeated Neepawa Natives 4-games-to-1\n1993 Lost Quarter-final\nPortage Terriers defeated Neepawa Natives 4-games-to-none\n1994 Lost Quarter-final\nDauphin Kings defeated Neepawa Natives 4-games-to-2\n1995 Lost Semi-final\nNeepawa Natives defeated Portage Terriers 4-games-to-none\nWinkler Flyers defeated Neepawa Natives 4-games-to-3\n1996 Lost Final\nNeepawa Natives defeated Portage Terriers 4-games-to-3\nNeepawa Natives defeated Dauphin Kings 4-games-to-2\nSt. James Canadians defeated Neepawa Natives 4-games-to-3\n1997 Lost Quarter-final\nWinkler Flyers defeated Neepawa Natives 4-games-to-3\n1998 Lost Quarter-final\nWinkler Flyers defeated Neepawa Natives 4-games-to-1\n1999 DNQ\n2000 DNQ\n2001 Lost Semi-final\nNeepawa Natives defeated Portage Terriers 4-games-to-3\nOCN Blizzard defeated Neepawa Natives 4-games-to-1\n2002 Lost Quarter-final\nPortage Terriers defeated Neepawa Natives 4-games-to-1\n2003 DNQ\n2004 Lost Quarter-final\nSwan Valley Stampeders defeated Neepawa Natives 4-games-to-2\n2005 Lost Semi-final\nNeepawa Natives defeated Dauphin Kings 4-games-to-2\nPortage Terriers defeated Neepawa Natives 4-games-to-1\n2006 DNQ\n2007 Lost Semi-final\nNeepawa Natives defeated Portage Terriers 4-games-to-3\nDauphin Kings defeated Neepawa Natives 4-games-to-2\n2008 DNQ\n2009 Lost Quarter-final\nWinnipeg Saints defeated Neepawa Natives 4-games-to-none\n2010 Lost Quarter-final\nDauphin Kings defeated Neepawa Natives 4-games-to-none\n2011 DNQ\n2012 DNQ\n2013 DNQ\n2014 DNQ\n2015 DNQ\n2016 DNQ\n2017 Lost Quarter-final\nSteinbach Pistons defeated Neepawa Natives 4-games-to-2\n2018 DNQ\n2019 DNQ\n2020 DNQ\n2021 Playoffs cancelled\n\nSee also\nList of ice hockey teams in Manitoba\nManitoba Junior Hockey League\nHockey Manitoba\n\nReferences\n\nExternal links\nOfficial Website\n\nManitoba Junior Hockey League teams",
"In the Northern Ontario bush, many families lived too far from communities to allow their children to attend school. As a way of providing education to these children of railroad workers, trappers, natives and other people of the bush the Canadian government instituted the school car system (in French: Des écoles sur rails). The school cars ran from 1926 to 1967, and stopped at each site on their route for three to five days out of a month.\n\nReferences\n\nTransport in Northern Ontario\nEducation in Ontario"
] |
[
"Principalía",
"Pre-colonial principalities",
"What were the pre-colonial princibalities?",
"From the beginning of the colonial period in the Philippine, the Spanish government built on the traditional pre-conquest socio-political organization of the barangay",
"How did this affect the government?",
"In other regions, even though the majority of these barangays were not large settlements, yet they had organized societies",
"What are some interesting aspects about this article?",
"The duty of the datus was to rule and govern their subjects and followers, and to assist them in their interests and necessities. What the chiefs received",
"What did the chiefs recieve?",
"the chiefs received from their followers was: to be held by them in great veneration and respect; and they were served in their",
"What were they serving for?",
"were served in their wars and voyages, and in their tilling, sowing, fishing, and the building of their houses. The natives attended",
"Where did the natives attend?",
"attended to these duties very promptly, whenever summoned by their chief. They also paid their chief"
] |
C_c1ee7385a1ee4040be0107324666c2b9_1
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How much did they pay their chief?
| 7 |
How much did the barangay natives pay their chief?
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Principalía
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From the beginning of the colonial period in the Philippine, the Spanish government built on the traditional pre-conquest socio-political organization of the barangay and co-opted the traditional indigenous princes and their nobles, thereby ruling indirectly. The barangays in some coastal places in Panay, Manila, Cebu, Jolo, and Butuan, with cosmopolitan cultures and trade relations with other countries in Asia, were already established principalities (Kinadatuan) before the coming of the Spaniards. In other regions, even though the majority of these barangays were not large settlements, yet they had organized societies dominated by the same type of recognized aristocracy and lordships (with birthright claim to allegiance from followers), as those found in more established, richer and more developed principalities. The aristocratic group in these pre-colonial societies was called the datu class. Its members were presumably the descendants of the first settlers on the land or, in the case of later arrivals, of those who were datus at the time of migration or conquest. The duty of the datus was to rule and govern their subjects and followers, and to assist them in their interests and necessities. What the chiefs received from their followers was: to be held by them in great veneration and respect; and they were served in their wars and voyages, and in their tilling, sowing, fishing, and the building of their houses. The natives attended to these duties very promptly, whenever summoned by their chief. They also paid their chief tribute (which they called buwis) in varying quantities, in the crops that they gathered. The descendants of such chiefs, and their relatives, even though they did not inherit the Lordship, were held in the same respect and consideration, and were all regarded as nobles and as persons exempt from the services rendered by the others, or the plebeians (timawas). The same right of nobility and chieftainship was preserved for the women, just as for the men. Some of these principalities and lordships have remained, even until the present, in unHispanicized and mostly Lumad and Muslim parts of the Philippines, in some regions of Mindanao. CANNOTANSWER
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paid their chief tribute (which they called buwis) in varying quantities, in the crops that they gathered. The descendants of such chiefs,
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The principalía or noble class was the ruling and usually educated upper class in the pueblos of the Spanish Philippines, comprising the Gobernadorcillo, who was later referred to as Capitán Municipal (who had functions similar to a town mayor), El Teniente de Justicia (Lieutenants of Justice), and the Cabezas de Barangay (heads of the barangays) who governed the districts, former Gobernadorcillos or Municipal Captains, and Municipal lieutenants in good standing during their term of office.
The distinction or status of being part of the principalía was originally a hereditary right. However, the royal decree of December 20, 1863 (signed in the name of Queen Isabella II by the Minister of the Colonies, José de la Concha), made possible the creation of new principales under certain defined criteria, among which was the proficiency in the Castilian language. Later, wider conditions that define the principalía were stipulated in the norms provided by the Maura Law of 1893, which were never changed until Spain lost the Philippines to the United States in 1898. The Law also redefined the reference to the head of municipal government in the Spanish Philippines from Gobernadorcillo to Capitán Municipal, and extended the distinction as principales to citizens paying 50 pesos in land tax.
Prior to the Maura Law, this distinguished upper class included only those exempted from tribute (tax) to the Spanish crown. Colonial documents would refer to them as "de privilegio y gratis", in contrast to those who pay tribute ("de pago"). It was the true aristocracy and the true nobility of the Spanish Philippines, which could be roughly comparable to the patrician class in Ancient Rome. The principales (members of the principalía) traced their origin to the precolonial Maginoo ruling class of the established kingdoms, rajahnates, confederacies, and principalities, as well as the lordships of the smaller, ancient social units called barangays in the Visayas, Luzon, and Mindanao. The members of this class enjoyed exclusive privileges: only the members of the principalía were allowed to vote, be elected to public office, and be bear the titles Don or Doña. The use of the honorific addresses "Don" and "Doña" was strictly limited to what many documents during the colonial period would refer to as "vecinas y vecinos distinguidos".
For the most part, the social privileges of the nobles were freely acknowledged as befitting their greater social responsibilities. The gobernadorcillo during that period received a nominal salary and was not provided government funds for public services. In fact, more often the gobernadorcillo had to maintain governance of his municipality by looking after the post office and the jailhouse, alongside managing public infrastructure, using personal resources.
Principales also provided assistance to parishes by helping in the construction of church buildings, and in the pastoral and religious activities of the clergy who, being usually among the few Spaniards in most colonial towns, had success in winning the goodwill of the natives. More often, the clergy were the sole representatives of Spain in many parts of the archipelago. Under the Patronato Real of the Spanish crown, these Spanish churchmen were also the king's de facto ambassadors, and promoters of the realm.
With the end of Spanish sovereignty over the Philippines after the Spanish–American War in 1898 and the introduction of a democratic, republican system during the American Occupation, the principalía and their descendants lost their legal authority and social privileges. Many were, however, able to integrate into the new socio-political structure, retaining some degree of influence and power.
Historical background
Pre-colonial principalities
From the beginning of the colonial period in the Philippine, the Spanish government built on the traditional preconquest sociopolitical organization of the barangay and coopted the traditional indigenous princes and their nobles, thereby ruling indirectly. Manila, Cebu, Jolo, and Butuan, with cosmopolitan cultures and trade relations with other countries in Asia, were already established principalities (Kinadatuan) before the coming of the Spaniards. In other regions, even though the majority of these barangays were not large settlements, yet they had organized societies dominated by the same type of recognized aristocracy and lordships (with birthright claim to allegiance from followers), as those found in more established, richer and more developed principalities. The aristocratic group in these precolonial societies was called the datu class. Its members were presumably the descendants of the first settlers on the land or, in the case of later arrivals, of those who were datus at the time of migration or conquest.
The duty of the datus was to rule and govern their subjects and followers, and to assist them in their interests and necessities. What the chiefs received from their followers was: to be held by them in great veneration and respect; and they were served in their wars and voyages, and in their tilling, sowing, fishing, and the building of their houses. The natives attended to these duties very promptly, whenever summoned by their chief. They also paid their chief tribute (which they called buwis) in varying quantities, in the crops that they gathered. The descendants of such chiefs, and their relatives, even though they did not inherit the Lordship, were held in the same respect and consideration, and were all regarded as nobles and as persons exempt from the services rendered by the others, or the plebeians (timawas). The same right of nobility and chieftainship was preserved for the women, just as for the men.
Some of these principalities and lordships have remained, even until the present, in unHispanicized and mostly Lumad and Muslim parts of the Philippines, in some regions of Mindanao.
Pre-colonial principalities in the Visayas
In more developed barangays in Visayas, e.g., Panay, Bohol and Cebu (which were never conquered by Spain but were incorporated into the Spanish sphere of influence as vassals by means of pacts, peace treaties, and reciprocal alliances), the datu class was at the top of a divinely sanctioned and stable social order in a territorial jurisdiction called in the local languages as Sakop or Kinadatuan (Kadatuan in ancient Malay; Kedaton in Javanese; and Kedatuan in many parts of modern Southeast Asia), which is elsewhere commonly referred to also as barangay. This social order was divided into three classes. The Kadatuan, which is also called Tumao (members of the Visayan datu class), were compared by the Boxer Codex to the titled lords (Señores de titulo) in Spain. As Agalon or Amo (lords), the datus enjoyed an ascribed right to respect, obedience, and support from their oripun (commoner) or followers belonging to the third order. These datus had acquired rights to the same advantages from their legal "timawa" or vassals (second order), who bind themselves to the datu as his seafaring warriors. "Timawas" paid no tribute, and rendered no agricultural labor. They had a portion of the datu's blood in their veins. The Boxer Codex calls these "timawas" knights and hidalgos. The Spanish conquistador, Miguel de Loarca, described them as "free men, neither chiefs nor slaves". In the late 1600s, the Spanish Jesuit priest Fr. Francisco Ignatio Alcina, classified them as the third rank of nobility (nobleza).
To maintain purity of bloodline, datus marry only among their kind, often seeking high ranking brides in other barangays, abducting them, or contracting brideprices in gold, slaves and jewelry. Meanwhile, the datus kept their marriageable daughters secluded for protection and prestige. These wellguarded and protected highborn women were called "binokot", the datus of pure descent (four generations) were called "potli nga datu" or "lubus nga datu", while a woman of noble lineage (especially the elderly) was addressed by the Visayans (of Panay) as "uray" (meaning: pure as gold), e.g., uray Hilway.
Pre-colonial principalities in the Tagalog region
The different type of culture prevalent in Luzon gave a less stable and more complex social structure to the precolonial Tagalog barangays of Manila, Pampanga and Laguna. Enjoying a more extensive commence than those in Visayas, having the influence of Bornean political contacts, and engaging in farming wet rice for a living, the Tagalogs were described by the Spanish Augustinian Friar Martin de Rada as more traders than warriors.
The more complex social structure of the Tagalogs was less stable during the arrival of the Spaniards because it was still in a process of differentiating.
Comparison
The Jesuit priest Francisco Colin made an attempt to give an approximate comparison of it with the Visayan social structure in the middle of the seventeenth century. The term datu or lakan, or apo refers to the chief, but the noble class to which the datu belonged or could come from was the maginoo class. One may be born a maginoo, but he could become a datu by personal achievement. In the Visayas, if the datu had the personality and economic means, he could retain and restrain competing peers, relatives, and offspring. The term timawa came into use in the social structure of the Tagalogs within just twenty years after the coming of the Spaniards. The term, however, was being applied to former alipin (third class) who have escaped bondage by payment, favor, or flight. The Tagalog timawas did not have the military prominence of the Visayan timawa. The warrior class in the Tagalog society was present only in Laguna, and they were called the maharlika class. At the early part of the Spanish regime, the number of their members who were coming to rent land from their datus was increasing.
Unlike the Visayan datus, the lakans and apos of Luzon could call all nonmaginoo subjects to work in the datu's fields or do all sorts of other personal labor. In the Visayas, only the oripuns were obliged to do that, and to pay tribute besides. The Tagalog who works in the datu's field did not pay him tribute, and could transfer their allegiance to another datu. The Visayan timawa neither paid tribute nor performed agricultural labor. In a sense, they were truly aristocrats. The Tagalog maharlika did not only work in his datu's field, but could also be required to pay his own rent. Thus, all nonmaginoo formed a common economic class in some sense, though this class had no designation.
The civilization of the precolonial societies in the Visayas, northern Mindanao, and Luzon were largely influenced by Hindu and Buddhist cultures. As such, the datus who ruled these principalities (such as Butuan, Cebu, Panay, Mindoro and Manila) also shared the many customs of royalties and nobles in southeast Asian territories (with Hindu and Buddhist cultures), especially in the way they used to dress and adorn themselves with gold and silk. The Boxer Codex bears testimony to this fact. The measure of the prince's possession of gold and slaves was proportionate to his greatness and nobility. The first westerners who came to the archipelago observed that there was hardly any "Indian" who did not possess chains and other articles of gold.
Filipino nobility during the colonial period
When the Spaniards expanded their dominion to the Americas and later on to the East Indies, they encountered different cultures that existed in these territories, which possessed different social structures (more or less complex) where as a common trait among them, there was a ruling class that held power and determined the destinies of peoples and territories under its control. These elites were those that the Spaniards discovered and conquered in the New World. It was these Spanish conquerors, using European terminology, who correlated the identity of classes of the pre-Hispanic elites, alongside with the royalty or with the nobility of Europe at the time according to appropriate categories, e.g., emperor, king, etc.
The thoughts of the more notable among them give useful insights on how the first European settlers regarded the rulers of Indians in the New World. Fray Bartolome de las Casas, for example, would argue that indigenous nobles were "(...) as Princes and Infantes like those of Castile." Juan de Matienzo, during his rule of Peru, said that the "Caciques, curacas and principales are the native princes of the Indians." In the Lexicon of Fray Domingo de Santo Tomás and Diego González Holguín as well as in the work of Ludovico Bertonio, several entries included were devoted to identify the pre-Hispanic society, comparing their old titles to those of their counterpart in the Iberian peninsula. The same approach to the local society in the East Indies was used by the Spaniards.
The principalía was the first estate of the four echelons of Filipino society at the time of contact with Europeans, as described by Fr. Juan de Plasencia, a pioneer Franciscan missionary in the Philippines. Loarca and the Canon Lawyer Antonio de Morga, who classified society into three estates (ruler, ruled, slave), also affirmed the preeminence of the principales. All members of this first estate (the datu class) were principales whether they were actually occupying positions to rule or not. The Real Academia Española defines Principal as, "A person or thing that holds first place in value or importance, and is given precedence and preference before others". This Spanish term best describes the first estate of the society in the archipelago, which the Europeans came in contact with. San Buenaventura's 1613 Dictionary of the Tagalog language defines three terms that clarify the concept of principalía:
Poon or Punò (chief, leader) – principal or head of a lineage.
Ginoo – a noble by lineage and parentage, family and descent.
Maguinoo – principal in lineage or parentage.
The Spanish term Señor (lord) is equated with all these three terms, which are distinguished from the nouveau riche imitators scornfully called maygintao (man with gold or hidalgo by wealth, and not by lineage). The first estate was the class that constituted a birthright aristocracy with claims to respect, obedience, and support from those of subordinate status.
Local nobility and the Laws of the Indies
After conquering Manila and making it the capital of the colonial government in 1571, Miguel Lopez de Legaspi noted that aside from the rulers of Cebu and of the capital, the other principales existing in the Archipelago were either heads or Datus of the barangays allied as nations; or tyrants, who were respected only by the law of the strongest. From this system of the law of the strongest sprung intestinal wars with which certain dominions annihilate one another. Attentive to these existing systems of government without stripping these ancient sovereigns of their legitimate rights, Legaspi demanded from these local rulers vassalage to the Spanish Crown. On 11 June 1594, shortly before confirming Legaspi's erection of Manila as a city on June 24 of the same year, King Philip II issued a Royal Decree institutionalizing the recognition of the rights and privileges of the local ruling class of the Philippines, which was later included in the codification of the Recopilación de las leyes de los reynos de Las Indias.
In Book VI, Title VII (dedicated to the caciques) of the Recopilación de las leyes de los reynos de Las Indias, (Laws of the Indies) there are three very interesting laws insofar as they determined the role that the caciques were to play in the Indian new social order under the colonial rule. With these laws, the Spanish Crown officially recognized the rights of these principales of pre-Hispanic origin. Specifically, Laws 1, 2 (dedicated to American territories) and; Law 16, instituted by Philip II, on 11 June 1594 which is similar to the previous two, with the main purpose of assuring that the principales of the Philippines would be treated well and be entrusted with some government charge. Likewise, this provision extended to the Filipino caciques all policies concerning the Indian caciques under the Spanish rule.
To implement a system of indirect rule in the Philippines, King Philip II ordered, through this law of 11 June 1594, that the honors and privileges of governing, which were previously enjoyed by the local royalty and nobility in formerly sovereign principalities who later accepted the catholic faith and became subject to him, should be retained and protected. He also ordered the Spanish governors in the Philippines to treat these native nobles well. The king further ordered that the natives should pay to these nobles the same respect that the inhabitants accorded to their local Lords before the conquest without prejudice to the things that pertain to the king himself or to the encomenderos.
The royal decree says: "It is not right that the Indian chiefs of Filipinas be in a worse condition after conversion; rather they should have such treatment that would gain their affection and keep them loyal, so that with the spiritual blessings that God has communicated to them by calling them to His true knowledge, the temporal blessings may be added, and they may live contentedly and comfortably. Therefore, we order the governors of those islands to show them good treatment and entrust them, in our name, with the government of the Indians, of whom they were formerly lords. In all else the governors shall see that the chiefs are benefited justly, and the Indians shall pay them something as a recognition, as they did during the period of their paganism, provided this is without prejudice to the tributes that are to be paid us, or to that which pertains to their encomenderos."
Through this law, the local Filipino nobles (under the supervision of the Spanish colonial officials) became encomenderos (trustees) also of the King of Spain, who ruled the country indirectly through these nobles. Corollary to this provision, all existing doctrines and laws regarding the Indian caciques were extended to Filipino principales. Their domains became selfruled tributary barangays of the Spanish Empire.
The system of indirect government helped in the pacification of the rural areas, and institutionalized the rule and role of an upper class, referred to as the "principalía" or the "principales", until the fall of the Spanish regime in the Philippines in 1898.
The Spanish dominion brought serious modifications to the life and economy of the indigenous society. The shift of emphasis to agriculture marginalized, weakened, and deprived the hildalgolike warriors of their significance in the barangays, especially in the traderaiding societies in the Visayas (which needed the Vikinglike services of the "timawas"). By the 1580s, many of these noblemen found themselves reduced to leasing land from their datus. Their military functions were eclipsed by farming. Whatever remained would quickly be disoriented, deflected, and destroyed by the superior military power of Spain.
By the end of the 16th century, any claim to Filipino royalty, nobility or hidalguía had disappeared into a homogenized, Hispanicized and Christianized nobility – the principalía. This remnant of the precolonial royal and noble families continued to rule their traditional domain until the end of the Spanish regime. However, there were cases when succession in leadership was also done through election of new leaders (cabezas de barangay), especially in provinces near the Manila where the ancient ruling families lost their prestige and role. It appears that proximity to the seat of colonial Government diminished their power and significance. In distant territories, where the central authority had less control and where order could be maintained without using coercive measures, hereditary succession was still enforced, until Spain lost the archipelago to the Americans. These distant territories remained patriarchal societies, where people retained great respect for the principalía.
Emergence of the mestizo class
The principalía was larger and more influential than the preconquest indigenous nobility. It helped create and perpetuate an oligarchic system in the Spanish colony for more than three hundred years,
serving as a link between the Spanish authorities and the local inhabitants.
The Spanish colonial government's prohibition for foreigners to own land in the Philippines contributed to the evolution of this form of oligarchy. In some provinces of the Philippines, many Spaniards and foreign merchants intermarried with the rich and landed MalayoPolynesian local nobilities. From these unions, a new cultural group was formed, the mestizo class. Their descendants emerged later to become an influential part of the government, and of the principalía.
The increase of population in the Archipelago, as well as the growing presence of Chinese and Mestizos also brought about social changes that necessitated the creation of new members of the principalía for these sectors of Filipino colonial society. In this regard, pertinent laws were promulgated, such as the above-mentioned royal decree issued on December 20, 1863 (signed in the name of Queen Isabella II by the Minister of the Colonies, José de la Concha), which indicate certain conditions for promotion to the principalía class, among others, the capacity to speak the Castilian language. The reform also paved way to the creation of authorities among the Chinese guilds in enclaves of big settlements like Manila, on condition that these leaders were Christianized. Furthermore, Chinese Gobernadorcillos were not given jurisdiction over municipal districts. Their jurisdiction was exceptional and they only exercised this over persons belonging to their guilds.
Royal Cedula of Charles II
The emergence of the mestizo class was a social phenomenon not localized in the Philippines, but was also very much present in the American continent.
On 22 March 1697, Charles II of Spain issued a Royal Cedula, related to this phenomenon. The Cedula gave distinctions to classes of persons in the social structure of the Crown Colonies, and defined the rights and privileges of colonial functionaries. In doing so, the Spanish Monarch touched another aspect of the colonial society, i.e., the status of indigenous nobles, extending to these indigenous nobles, as well as to their descendants, the preeminence and honors customarily attributed to the Hidalgos of Castile. The Royal Cedula stipulates:
"Bearing in mind the laws and orders issued by my Progenies, Their Majesties the Kings, and by myself, I order the good treatment, assistance, protection and defense of the native Indians of America, that they may be taken cared of, maintained, privileged and honored like all other vassals of my Crown and that, in the course of time, the trial and use of them stops. I feel that its timely implementation is very suitable for public good, for the benefit of the Indians and for the service of God and mine. That, consequently, with respect to the Indian mestizos, the Archbishops and Bishops of the Indias are charged by Article 7, Title VII, Book I of the Laws of the Indies, for ordaining priests, being attentive to the qualities and circumstances present, and if some mestizas ask to be religious, they (Bishops) shall give support to those whom they admit in monasteries and for vows. But in particular, with regard to the requirements for Indians in order to accede to ecclesiastical or secular, governmental, political and military positions, which all require purity of blood and, by its Statute, the condition of nobility, there is distinction between the Indians and mestizos, inasmuch as there is between the [1] descendants of the notable Indians called caciques, and [2] those who are issues of less notable Indian tributaries, who in their pagan state acknowledged vassalage. It is deemed that all preeminence and honors, customarily conferred on the Hijosdalgos of Castile, are to be attributed to the first and to their descendants, both ecclesiastical and secular; and that they can participate in any communities which, by their statutes require nobility; for it is established that these, in their heathenism, were nobles to whom their subordinates acknowledged vassalage and to whom tributes were paid. Such kind of nobility is still retained and acknowledged, keeping these as well as their privileges wherever possible, as recognized and declared by the whole section on the caciques, which is Title VII, Book VI of the Laws of the Indies, wherein for the sake of distinction, the subordinate Indians were placed under (these noble’s) dominion called «cacicazgo», transmissible from elder to elder, to their posteriority…"
The Royal Cedula was enforced in the Philippines and benefited many indigenous nobles. It can be seen very clearly and irrefutably that, during the colonial period, indigenous chiefs were equated with the Spanish Hidalgos, and the most resounding proof of the application of this comparison is the General Military Archive in Segovia, where the qualifications of "Nobility" (found in the Service Records) are attributed to those Filipinos who were admitted to the Spanish Military Academies and whose ancestors were caciques, encomenderos, notable Tagalogs, chieftains, governors or those who held positions in the municipal administration or government in all different regions of the large islands of the Archipelago, or of the many small islands of which it is composed. In the context of the ancient tradition and norms of Castilian nobility, all descendants of a noble are considered noble, regardless of fortune.
At the Real Academia de la Historia, there is also a substantial amount of records giving reference to the Philippine Islands, and while most part corresponds to the history of these islands, the Academia did not exclude among its documents the presence of many genealogical records. The archives of the Academia and its royal stamp recognized the appointments of hundreds of natives of the Philippines who, by virtue of their social position, occupied posts in the administration of the territories and were classified as "Nobles". The presence of these notables demonstrates the cultural concern of Spain in those Islands to prepare the natives and the collaboration of these in the government of the Archipelago. This aspect of Spanish rule in the Philippines appears much more strongly implemented than in the Americas. Hence in the Philippines, the local nobility, by reason of charge accorded to their social class, acquired greater importance than in the Indies of the New World.
Christianization under the Spanish Crown
With the recognition of the Spanish monarchs came the privilege of being addressed as Don or Doña. – a mark of esteem and distinction in Europe reserved for a person of noble or royal status during the colonial period. Other honors and high regard were also accorded to the Christianized Datus by the Spanish Empire. For example, the Gobernadorcillos (elected leader of the Cabezas de Barangay or the Christianized Datus) and Filipino officials of justice received the greatest consideration from the Spanish Crown officials. The colonial officials were under obligation to show them the honor corresponding to their respective duties. They were allowed to sit in the houses of the Spanish Provincial Governors, and in any other places. They were not left to remain standing. It was not permitted for Spanish Parish Priests to treat these Filipino nobles with less consideration.
The Gobernadorcillos exercised the command of the towns. They were Port Captains in coastal towns. They also had the rights and powers to elect assistants and several lieutenants and alguaciles, proportionate in number to the inhabitants of the town.
On the day on which the gobernadorcillo would take on government duties, his town would hold a grand celebration. A festive banquet would be offered in the municipal or city hall where he would occupy a seat, adorned by the coat of arms of Spain and with fanciful designs, if his social footing was of a respectable antiquity.
On holy days the town officials would go to the church, together in one group. The principalía and cuadrilleros (police patrol or assistance) formed two lines in front of the Gobernadorcillo. They would be preceded by a band playing the music as they process towards the church, where the Gobernadorcillo would occupy a seat in precedence among those of the chiefs or cabezas de barangay, who had benches of honor. After the mass, they would usually go to the parish rectory to pay their respects to the parish priest. Then, they would return to the tribunal (municipal hall or city hall) in the same order, and still accompanied by the band playing a loud double quick march called paso doble.
The gobernadorcillo was always accompanied by an alguacil or policia (police officer) whenever he went about the streets of his town.
Class symbols
At the later part of the Spanish period, this class of elite Christian landowners started to adopt a characteristic style of dress and carry regalia. They wore a distinctive type of salakot, a Philippine headdress commonly used in the archipelago since the precolonial period. Instead of the usual headgear made of rattan, of reeds called Nitó, or of various shells such as capiz shells, which common Filipinos would wear, the principales would use more prized materials like tortoise shell. The special salakot of the ruling upper class was often adorned with ornate capping spike crafted in metals of value like silver, or, at times, gold. This headgear was usually embossed also with precious metals and sometimes decorated with silver coins or pendants that hung around the rim.
It was mentioned earlier that the royalties and nobilities of the Pre-colonial societies in the Visayas, Northern Mindanao, and Luzon (Cebu, Bohol Panay, Mindoro and Manila) also shared the many customs of royalties and nobles in Southeast Asian territories (with Hindu and Buddhist cultures), especially in the generous use of gold and silk in their costumes, as the Boxer Codex demonstrate. The measure of the prince's possession of gold and slaves was proportionate to his greatness and nobility. When the Spaniards reached the shores of the Archipelago, they observed that there was hardly any "Indian" who did not possess chains and other articles of gold.
However, this way of dressing was slowly changed as colonial power took firmer grips of the local nobilities and finally ruled the Islands. By the middle of the 19th century, the Principalía's usual attire was black jacket, European trousers, salakot and colored (velvet) slippers. Many would even wear varnished shoes, such as high quality leather shoes. Their shirt was worn outside the trousers. Some sources say that the Spaniards did not allow the native Filipinos to tuck their shirts under their waistbands, nor were they allowed to have any pockets. It was said that the intention of the colonizers was to remind the natives that they remain indios regardless of the wealth and power they attain. It was a way for discriminating the natives from their Spanish overlords. The locals also used native fabrics of transparent appearance. It is believed that transparent, sheer fabric were mainly for discouraging the Indios from hiding any weapons under their shirts. However, the native nobles did not wish to be outdone in the appearance of their apparel. And so, they richly embroidered their shirts with somewhat baroque designs on delicate Piña fabric. This manner of sporting what originally was a European attire for men led the way to the development of the Barong, which later became the national costume for Filipino men.
Distinctive staffs of office were associated with the Filipino ruling class. The Gobernadorcillo would carry a tasseled cane (baston) decorated with precious metals, while his lieutenants would use some kind of wands referred to as "Vara (rama)". On occasions and ceremonies of greater solemnity, they would dress formally in frock coat and high crowned hat.
One distinctive status symbol of the Principalía families of the rural pueblos, which remain handed down to their descendants until the present time, is the ownership of a santo or religious statue. Principalía families in provinces were mostly hacienderos, who had the means and manpower to maintain and decorate carrozas or floats of sacred images, which are often processed during various religious occasions, most importantly the town fiesta and Holy Week. Those who were endowed with more material possessions and power would own images with ivory heads and hands, and crowned with gold or silver halos. From the 17th to the 19th century, Spanish missionaries established a system of sponsorship for religious images. Those who sponsored santos were called "camareros". The prestige associated to being camareros influenced the contemporary trend among well-to-do Filipino Catholic families to sponsor carrozas for processions organized during various religious festivities in the country.
Race and status
Although the principalía had many privileges, there were limitations to how much power they were entitled to under Spanish rule. A member of the principalía could never become the GovernorGeneral (Gobernador y Capitán General), nor could he become the provincial governor (alcalde mayor).Hypothetically, a member of the principalía could obtain the position of provincial governor if, for example, a noblewoman of the principalía married a Spanish man born in the Philippines (an Insular ) of an elevated social rank. In which case her children would be classified as white (or blanco). However, this did not necessarily give a guarantee that her sons would obtain the position of provincial governor. Being mestizos was not an assurance that they would be loyal enough to the Spanish crown. Such unquestionable allegiance was necessary for the colonizers in retaining control of the archipelago.
The children born of the union between the principales and the insulares, or better still, the peninsulares (a Spanish person born in Spain) are neither assured access to the highest position of power in the colony. Flexibility is known to have occurred in some cases, including that of Marcelo Azcárraga Palmero who even became interim Prime Minister of Spain on August 8, 1897, until October 4 of that same year. Azcárraga also went on to become Prime Minister of Spain again in two more separate terms of office. In 1904, he was granted Knighthood in the very exclusive Spanish chilvalric Order of the Golden Fleece — the only mestizo recipient of this prestigious award.
In the archipelago, however, most often ethnic segregation did put a stop to social mobility, even for members of the principalía – a thing that is normally expected in a colonial rule. It was not also common for principales to be too ambitious so as to pursue very strong desire for obtaining the office of Governor-General. For most part, it appears that the local nobles were inclined to be preoccupied with matters concerning their barangays and towns.
The town mayors received an annual salary of 24 pesos, which was nothing in comparison to the provincial governor's 1,600 pesos and the GovernorGeneral's 40,000 pesos. Even though the gobernadorcillo's salary was not subject to tax, it was not enough to carry out all the required duties expected of such a position. This explains why among the principales, those who had more wealth were likely to be elected to the office of gobernadorcillo (municipal governor).
Principales tend to marry those who belong to their class, to maintain wealth and power. However, unlike most European royalties who marry their close relatives, e.g. first cousins, for this purpose, Filipino nobles abhorred Incestuous unions. In some cases, members of the principalia married wealthy and nonnoble Chinese (Sangley) merchants, who made their fortune in the colony. Principales born of these unions had possibilities to be elected gobernadorcillo by their peers.
Wealth was not the only basis for intermarriage between the principales and foreigners, which were commonly prearranged by parents of the bride and groom. Neither did having a Spaniard as one of the parents of a child ennobles him. In a traditionally conservative Catholic environment with Christian mores and norms strictly imposed under the tutelage and prying eyes of Spanish friars, marriage to a divorcée or secondhand spouse (locally referred to as "tirá ng ibá", literally "others' leftovers") was scornfully disdained by Filipino aristocrats. Virgin brides were a must for the principalía, as well as for the Filipinos in general.
Children who were born outside of marriage, even of Spaniards, were not accepted in the circle of principales. These were severely ostracized in the conservative colonial society and were pejoratively called an "anák sa labás", i.e., "child from outside" (viz., outside marriage), a stigma that still remains part of the contemporary social mores.
During the last years of the regime, there were efforts to push for a representation of the archipelago in the Spanish Cortes among a good number of principales. This move was prevalent especially among those who have studied in Spain and other parts of Europe (Ilustrados). That initiative, however, was met with snobbery by the colonizers, who denied the natives of equal treatment, in any way possible.
Towards the end of the 19th century, civil unrest occurred more frequently. This situation was exposed by the writer and leader of the Propaganda Movement, José Rizal, in his two novels: Noli Me Tángere, and El Filibusterismo (dedicated to the three Filipino Catholic priests, who were executed on February 17, 1872, by Spanish colonial authorities, on charges of subversion arising from the 1872 Cavite mutiny). Because of this growing unrest that turned into an irreversible revolution, the position of provincial governor became awarded more and more often to the peninsulares. In the ecclesiastical sector, a decree was made, stating there were to be no further appointments of Filipinos as parish priests.
Status quaestionis
The recognition of the rights and privileges of the Filipino Principalía as equivalent to those of the Hidalgos of Castile appears to facilitate entrance of Filipino nobles into institutions under the Spanish Crown, either civil or religious, which required proofs of nobility. However, such approximation may not be entirely correct since in reality, although the principales were vassals of the Spanish Crown, their rights as sovereign in their former dominions were guaranteed by the Laws of the Indies, more particularly the Royal Decree of Philip II of 11 June 1594, which Charles II confirmed for the purpose stated above, to satisfy the requirements of the existing laws in the Peninsula.
From the beginning of the Spanish colonial period, the conquistador Miguel Lopez de Legaspi retained the hereditary rights of the local ancient sovereigns of the Archipelago who vowed allegiance to the Spanish Crown. Many of them accepted the Catholic religion and became Spanish allies at this time. He only demanded from these local rulers vassalage to the Spanish Crown, replacing the similar overlordship, which previously existed in a few cases, e.g., Sultanate of Brunei's overlordship of the Kingdom of Maynila. Other independent polities, which were not vassals to other States, e.g., Confederation of Madja-as and the Rajahnate of Cebu, were de facto Protectorates/Suzerainties having had alliances with the Spanish Crown before the Kingdom took total control of most parts of the Archipelago.
A question remains after the cessession of Spanish rule in the Philippines regarding any remaining rank equivalency of Filipino Principalía. Reassuming their ancestral titles as Datus while retaining the Hidalguía of Castile (their former protector state), as subsidiary title, is the logical consequence of the above-mentioned recognition by Charles II of Spain. As guaranteed by this Spanish Monarch's Royal Decree, the ancient nobility of the casiques within his realm (which includes the Filipino Principales) "is still retained and acknowledged".
Besides, the principales retained many of the ordinary obligations of local rulers as manifested in constructing local infrastructures and in maintaining the government offices without funds from Spain. Expenditures of the local government came from the private and personal resources of the principales. These were not taxes that citizens were obliged to pay as tributes required by their Spanish Crown from its subjects. In many ways, the principales retained much of the responsibilities, powers and obligations of the pre-colonial Datus – their predecessors, except for the right to organize their own armed forces. Only the right of Gobernadorcillos to appoint alguacils and "cuadrilleros" (police patrol or assistance) seem to point out to some kind of vestige of this pre-colonial sign of the Datu's coercive power and responsibility to defend his domain.
Like deposed royal families elsewhere in the world, which continue to claim hereditary rights as pretenders to the former thrones of their ancestors, the descendants of the Principalía have similar claims to the historical domains of their forebears.
See also
Filipino styles and honorifics
Gobernadorcillo
Cabeza de Barangay
Barangay state
Datu
Lakan
Maginoo
Maharlika
Timawa
Babaylan
History of the Philippines (1521–1898)
Confederation of Madja-as
Maragtas
Kingdom of Maynila
Kingdom of Namayan
Kingdom of Butuan
Rajahnate of Cebu
Sultanate of Maguindanao
Sultanate of Sulu
Confederation of Sultanates in Lanao
List of political families in the Philippines
Notes
Further reading
Luque Talaván, Miguel, Análisis Histórico-Jurídico de la Nobleza Indiana de Origen Prehispánico (Conferencia en la Escuela «Marqués de Aviles» de Genealogía, Heráldica y Nobiliaria de la «Asociación de Diplomados en Genealogía, Heráldica y Nobiliaria»).
Vicente de Cadenas y Vicent, Las Pruebas de Nobleza y Genealogia en Filipinas y Los Archivios en Donde se Pueden Encontrar Antecedentes de Ellas in Heraldica, Genealogia y Nobleza en los Editoriales de «Hidalguia», 1953–1993: 40 años de un pensamiento, Madrid: 1993, Graficas Ariás Montano, S.A.-MONTOLES, pp. 232–235.[8][8][8][8][8]
José Feced y Temprado, Manual del Gobernadorcillo en el Ejercicio de sus Atribuciones Judiciales y Escriturárias (Guia del Hombre de Negocios en Filipinas), Manila: 1867, Imp. de Ramirez y Giraudier.] Don José Feced y Temprado, Manual del Gobernadorcillo en el Ejercicio de sus Atribuciones Judiciales y Escriturárias (Guia del Hombre de Negocios en Filipinas), Manila: 1867, Imp. de Ramirez y Giraudier.
Rafael Moreno y Diez, Manual del Cabeza de Barangay en Castellano y en Tagalog, Manila: 1874, Imprenta "Amigos del Pais".
Regalado Trota Jose, The Many Images of Christ (particularly in the section: Spain retains the old class system) in DALISAY, Jose Y, ed. (1998), Kasaysayan: The Story of the Filipino People.
See also: Alfredo Reyes; CORDERO-FERNANDO, Gilda; QUIRINO, Carlos & GUTIERREZ, Manuel C, eds. Filipino Heritage: the Making of a Nation (10 vols), Manila: 1997, Lahing Pilipino Publications.
Celdrán Ruano, Julia, ed. (2009). La configuración del sistema jurídico hispano en las Islas Filipinas: orígenes y evolución (siglos XVI-XVIII) in Anales de Derecho, Vol. 27 (2009) (pdf) (in Español).
Jorge Alberto Liria Rodríguez, LA PECULIAR ADMINISTRACIÓNESPAÑOLA EN FILIPINAS (1890–1898), Las Palmas de Gran Canaria: Anroart, Asociación canaria para la difusión de la cultura y el arte , 2004.
Maura Law.
References
Honorary titles
History of the Philippines (1565–1898)
Captaincy General of the Philippines
Social class in the Philippines
People of Spanish colonial Philippines
Filipino nobility
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"A pay-as-you-go pension plan is a retirement scheme, where as in which a said contributor can choose how much money they would like to be deducted regularly from either their paycheck, or by perhaps a lump sum to their own retirement fund. The funds they choose to provide goes towards a retirement plan which can be then redeemed upon reaching retirement age.\n\nWith this type of plan, the contributor can decided how much money they see fit to contribute to the fund. With the funds that are contributed, the contributor will be able to devise a plan on what to invest in, which in turn leaves said contributor as the person mainly responsible for how much the pension can grow. Choosing an investment that is more risky can lead to a bigger return on money however, it is also possible to choose a steady and safe investment in order to have a consistent return on money.\n\nUpon reaching the age of retirement, the contributor can choose to have their money paid to them in a lump sum, which means they will receive one large cheque with their money, or they also have the other option to receive their cash in monthly installments. A combination of these two methods is possible whereas the contributor could receive a smaller monthly fee along with a small lump sum withdrawal.\n\nDifference to pay-as-you-go pension systems \nPrivate pay-as-you-go pension plans are not to be confused with pay-as-you-go pension systems. The latter term refers to state pension systems that are funded by contributions from current workers (rather than by individual past contributions from current beneficiaries). The underlying pay-as-you-go (PAYG or PAYGO) principle is applied in social insurance systems across the world.\n\nReferences\n\nRetirement plans in the United States",
"\"The Ransom of Red Chief\" is a short story by O. Henry first published in the July 6, 1907 issue of The Saturday Evening Post. It follows two men who kidnap, and demand a ransom for, a wealthy Alabamian's son. Eventually, the men are driven crazy by the boy's spoiled and hyperactive behavior, and they pay the boy's father to take him back.\n\nThe story and its main idea have become a part of popular culture, with many children's television programs depicting versions of the story as one of their episodes. It has also been often used as a classic example of two ultimate comic ironies – a supposed \"hostage\" actually liking his abductors and enjoying being captured, and his captors getting their just deserts by having the tables turned on them, and being compelled to pay to be rid of him.\n\nSummary\n\nTwo small-time criminals, Bill and Sam, kidnap a kid named Johnny, the 10-year-old red-haired son of Ebenezer Dorset, an important citizen, and hold him for ransom. But the moment that they arrive at their hideout with the boy, the plan begins to unravel, as the boy actually starts to enjoy his kidnappers. Calling himself \"Red Chief\", the boy proceeds to drive his captors to distraction with his unrelenting chatter, malicious pranks, and demands that they play wearying games with him, such as riding 90 miles on Bill's back pretending to be an Indian scout. The criminals write a ransom letter to the boy's father, lowering the ransom from $2,000 to $1,500, believing that the father won't pay much money for his return. The father, who knows his son well and realizes how intolerable he will be to his captors and how eager they will soon be to rid themselves of the delinquent child, rejects their demand and offers to take the boy off their hands if they pay him $250. The men hand over the money and the howling boy – who had actually been happier being away from his strict father – and flee while the father restrains his son from following them. The ironic situation lies in the fact that the kidnappers have to pay the father to get his son back (or in truth, to actually agree to even accept him back) instead of the father's paying the kidnappers for the return of his son.\n\nInfluence\n\n\"The Ransom of Red Chief\" has been adapted many times, directly and indirectly. Direct adaptations include the 1952 movie The Ransom of Red Chief starring Fred Allen and Oscar Levant (part of O. Henry's Full House), the segment \"The Ransom of Red Chief\" in the 1962 Soviet black-and-white comedy film Strictly Business by Leonid Gaidai, the 1977 \"The Ransom of Red Chief\" episode of the ABC Weekend Special series, the 1984 opera Ransom of Red Chief (libretto, music, and orchestration by Brad Liebl), and the 1998 television film The Ransom of Red Chief; there is also Le Grand Chef, a French direct adaptation made in 1959 by Henri Verneuil, with Fernandel and Gino Cervi.\n\nIndirect adaptions include the 1929 Japanese silent comedy Straightforward Boy by Yasujirō Ozu, the British film Don't Ever Leave Me (1949) played with a girl instead, with Petula Clark in the role, the episode \"The Ransom of Red Chimp\" of the 1990s Disney animated series TaleSpin,, the 1985 Soviet animated short , the films Too Many Crooks (1959) and Ruthless People (1986) (which take the story a step further), and \"The Ransom of Rusty Rex\", a segment of the 2015 anthology film Tales of Halloween. A 2015 episode of the radio comedy anthology Stanley Baxter's Playhouse, titled \"Two Desperate Men\" after how the kidnappers sign their note, relocated the story to rural Scotland in the 1930s. The 1993 film Dennis the Menace featuring Christopher Lloyd as the kidnapper certainly owes a debt to the O. Henry story as well.\n\nReferences\n\nExternal links\n \n Full audio dramatization also available free from WOUB Public Media (Athens, Ohio) online here.\n\n1907 short stories\n1900s short stories\nAmerican short stories\nShort stories by O. Henry\nWorks originally published in The Saturday Evening Post\nShort stories adapted into films"
] |
[
"Principalía",
"Pre-colonial principalities",
"What were the pre-colonial princibalities?",
"From the beginning of the colonial period in the Philippine, the Spanish government built on the traditional pre-conquest socio-political organization of the barangay",
"How did this affect the government?",
"In other regions, even though the majority of these barangays were not large settlements, yet they had organized societies",
"What are some interesting aspects about this article?",
"The duty of the datus was to rule and govern their subjects and followers, and to assist them in their interests and necessities. What the chiefs received",
"What did the chiefs recieve?",
"the chiefs received from their followers was: to be held by them in great veneration and respect; and they were served in their",
"What were they serving for?",
"were served in their wars and voyages, and in their tilling, sowing, fishing, and the building of their houses. The natives attended",
"Where did the natives attend?",
"attended to these duties very promptly, whenever summoned by their chief. They also paid their chief",
"How much did they pay their chief?",
"paid their chief tribute (which they called buwis) in varying quantities, in the crops that they gathered. The descendants of such chiefs,"
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Who were the descendants?
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Who were the descendants of the barangay chiefs?
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Principalía
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From the beginning of the colonial period in the Philippine, the Spanish government built on the traditional pre-conquest socio-political organization of the barangay and co-opted the traditional indigenous princes and their nobles, thereby ruling indirectly. The barangays in some coastal places in Panay, Manila, Cebu, Jolo, and Butuan, with cosmopolitan cultures and trade relations with other countries in Asia, were already established principalities (Kinadatuan) before the coming of the Spaniards. In other regions, even though the majority of these barangays were not large settlements, yet they had organized societies dominated by the same type of recognized aristocracy and lordships (with birthright claim to allegiance from followers), as those found in more established, richer and more developed principalities. The aristocratic group in these pre-colonial societies was called the datu class. Its members were presumably the descendants of the first settlers on the land or, in the case of later arrivals, of those who were datus at the time of migration or conquest. The duty of the datus was to rule and govern their subjects and followers, and to assist them in their interests and necessities. What the chiefs received from their followers was: to be held by them in great veneration and respect; and they were served in their wars and voyages, and in their tilling, sowing, fishing, and the building of their houses. The natives attended to these duties very promptly, whenever summoned by their chief. They also paid their chief tribute (which they called buwis) in varying quantities, in the crops that they gathered. The descendants of such chiefs, and their relatives, even though they did not inherit the Lordship, were held in the same respect and consideration, and were all regarded as nobles and as persons exempt from the services rendered by the others, or the plebeians (timawas). The same right of nobility and chieftainship was preserved for the women, just as for the men. Some of these principalities and lordships have remained, even until the present, in unHispanicized and mostly Lumad and Muslim parts of the Philippines, in some regions of Mindanao. CANNOTANSWER
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The descendants of such chiefs, and their relatives, even though they did not inherit the Lordship, were held in the same respect and consideration, and
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The principalía or noble class was the ruling and usually educated upper class in the pueblos of the Spanish Philippines, comprising the Gobernadorcillo, who was later referred to as Capitán Municipal (who had functions similar to a town mayor), El Teniente de Justicia (Lieutenants of Justice), and the Cabezas de Barangay (heads of the barangays) who governed the districts, former Gobernadorcillos or Municipal Captains, and Municipal lieutenants in good standing during their term of office.
The distinction or status of being part of the principalía was originally a hereditary right. However, the royal decree of December 20, 1863 (signed in the name of Queen Isabella II by the Minister of the Colonies, José de la Concha), made possible the creation of new principales under certain defined criteria, among which was the proficiency in the Castilian language. Later, wider conditions that define the principalía were stipulated in the norms provided by the Maura Law of 1893, which were never changed until Spain lost the Philippines to the United States in 1898. The Law also redefined the reference to the head of municipal government in the Spanish Philippines from Gobernadorcillo to Capitán Municipal, and extended the distinction as principales to citizens paying 50 pesos in land tax.
Prior to the Maura Law, this distinguished upper class included only those exempted from tribute (tax) to the Spanish crown. Colonial documents would refer to them as "de privilegio y gratis", in contrast to those who pay tribute ("de pago"). It was the true aristocracy and the true nobility of the Spanish Philippines, which could be roughly comparable to the patrician class in Ancient Rome. The principales (members of the principalía) traced their origin to the precolonial Maginoo ruling class of the established kingdoms, rajahnates, confederacies, and principalities, as well as the lordships of the smaller, ancient social units called barangays in the Visayas, Luzon, and Mindanao. The members of this class enjoyed exclusive privileges: only the members of the principalía were allowed to vote, be elected to public office, and be bear the titles Don or Doña. The use of the honorific addresses "Don" and "Doña" was strictly limited to what many documents during the colonial period would refer to as "vecinas y vecinos distinguidos".
For the most part, the social privileges of the nobles were freely acknowledged as befitting their greater social responsibilities. The gobernadorcillo during that period received a nominal salary and was not provided government funds for public services. In fact, more often the gobernadorcillo had to maintain governance of his municipality by looking after the post office and the jailhouse, alongside managing public infrastructure, using personal resources.
Principales also provided assistance to parishes by helping in the construction of church buildings, and in the pastoral and religious activities of the clergy who, being usually among the few Spaniards in most colonial towns, had success in winning the goodwill of the natives. More often, the clergy were the sole representatives of Spain in many parts of the archipelago. Under the Patronato Real of the Spanish crown, these Spanish churchmen were also the king's de facto ambassadors, and promoters of the realm.
With the end of Spanish sovereignty over the Philippines after the Spanish–American War in 1898 and the introduction of a democratic, republican system during the American Occupation, the principalía and their descendants lost their legal authority and social privileges. Many were, however, able to integrate into the new socio-political structure, retaining some degree of influence and power.
Historical background
Pre-colonial principalities
From the beginning of the colonial period in the Philippine, the Spanish government built on the traditional preconquest sociopolitical organization of the barangay and coopted the traditional indigenous princes and their nobles, thereby ruling indirectly. Manila, Cebu, Jolo, and Butuan, with cosmopolitan cultures and trade relations with other countries in Asia, were already established principalities (Kinadatuan) before the coming of the Spaniards. In other regions, even though the majority of these barangays were not large settlements, yet they had organized societies dominated by the same type of recognized aristocracy and lordships (with birthright claim to allegiance from followers), as those found in more established, richer and more developed principalities. The aristocratic group in these precolonial societies was called the datu class. Its members were presumably the descendants of the first settlers on the land or, in the case of later arrivals, of those who were datus at the time of migration or conquest.
The duty of the datus was to rule and govern their subjects and followers, and to assist them in their interests and necessities. What the chiefs received from their followers was: to be held by them in great veneration and respect; and they were served in their wars and voyages, and in their tilling, sowing, fishing, and the building of their houses. The natives attended to these duties very promptly, whenever summoned by their chief. They also paid their chief tribute (which they called buwis) in varying quantities, in the crops that they gathered. The descendants of such chiefs, and their relatives, even though they did not inherit the Lordship, were held in the same respect and consideration, and were all regarded as nobles and as persons exempt from the services rendered by the others, or the plebeians (timawas). The same right of nobility and chieftainship was preserved for the women, just as for the men.
Some of these principalities and lordships have remained, even until the present, in unHispanicized and mostly Lumad and Muslim parts of the Philippines, in some regions of Mindanao.
Pre-colonial principalities in the Visayas
In more developed barangays in Visayas, e.g., Panay, Bohol and Cebu (which were never conquered by Spain but were incorporated into the Spanish sphere of influence as vassals by means of pacts, peace treaties, and reciprocal alliances), the datu class was at the top of a divinely sanctioned and stable social order in a territorial jurisdiction called in the local languages as Sakop or Kinadatuan (Kadatuan in ancient Malay; Kedaton in Javanese; and Kedatuan in many parts of modern Southeast Asia), which is elsewhere commonly referred to also as barangay. This social order was divided into three classes. The Kadatuan, which is also called Tumao (members of the Visayan datu class), were compared by the Boxer Codex to the titled lords (Señores de titulo) in Spain. As Agalon or Amo (lords), the datus enjoyed an ascribed right to respect, obedience, and support from their oripun (commoner) or followers belonging to the third order. These datus had acquired rights to the same advantages from their legal "timawa" or vassals (second order), who bind themselves to the datu as his seafaring warriors. "Timawas" paid no tribute, and rendered no agricultural labor. They had a portion of the datu's blood in their veins. The Boxer Codex calls these "timawas" knights and hidalgos. The Spanish conquistador, Miguel de Loarca, described them as "free men, neither chiefs nor slaves". In the late 1600s, the Spanish Jesuit priest Fr. Francisco Ignatio Alcina, classified them as the third rank of nobility (nobleza).
To maintain purity of bloodline, datus marry only among their kind, often seeking high ranking brides in other barangays, abducting them, or contracting brideprices in gold, slaves and jewelry. Meanwhile, the datus kept their marriageable daughters secluded for protection and prestige. These wellguarded and protected highborn women were called "binokot", the datus of pure descent (four generations) were called "potli nga datu" or "lubus nga datu", while a woman of noble lineage (especially the elderly) was addressed by the Visayans (of Panay) as "uray" (meaning: pure as gold), e.g., uray Hilway.
Pre-colonial principalities in the Tagalog region
The different type of culture prevalent in Luzon gave a less stable and more complex social structure to the precolonial Tagalog barangays of Manila, Pampanga and Laguna. Enjoying a more extensive commence than those in Visayas, having the influence of Bornean political contacts, and engaging in farming wet rice for a living, the Tagalogs were described by the Spanish Augustinian Friar Martin de Rada as more traders than warriors.
The more complex social structure of the Tagalogs was less stable during the arrival of the Spaniards because it was still in a process of differentiating.
Comparison
The Jesuit priest Francisco Colin made an attempt to give an approximate comparison of it with the Visayan social structure in the middle of the seventeenth century. The term datu or lakan, or apo refers to the chief, but the noble class to which the datu belonged or could come from was the maginoo class. One may be born a maginoo, but he could become a datu by personal achievement. In the Visayas, if the datu had the personality and economic means, he could retain and restrain competing peers, relatives, and offspring. The term timawa came into use in the social structure of the Tagalogs within just twenty years after the coming of the Spaniards. The term, however, was being applied to former alipin (third class) who have escaped bondage by payment, favor, or flight. The Tagalog timawas did not have the military prominence of the Visayan timawa. The warrior class in the Tagalog society was present only in Laguna, and they were called the maharlika class. At the early part of the Spanish regime, the number of their members who were coming to rent land from their datus was increasing.
Unlike the Visayan datus, the lakans and apos of Luzon could call all nonmaginoo subjects to work in the datu's fields or do all sorts of other personal labor. In the Visayas, only the oripuns were obliged to do that, and to pay tribute besides. The Tagalog who works in the datu's field did not pay him tribute, and could transfer their allegiance to another datu. The Visayan timawa neither paid tribute nor performed agricultural labor. In a sense, they were truly aristocrats. The Tagalog maharlika did not only work in his datu's field, but could also be required to pay his own rent. Thus, all nonmaginoo formed a common economic class in some sense, though this class had no designation.
The civilization of the precolonial societies in the Visayas, northern Mindanao, and Luzon were largely influenced by Hindu and Buddhist cultures. As such, the datus who ruled these principalities (such as Butuan, Cebu, Panay, Mindoro and Manila) also shared the many customs of royalties and nobles in southeast Asian territories (with Hindu and Buddhist cultures), especially in the way they used to dress and adorn themselves with gold and silk. The Boxer Codex bears testimony to this fact. The measure of the prince's possession of gold and slaves was proportionate to his greatness and nobility. The first westerners who came to the archipelago observed that there was hardly any "Indian" who did not possess chains and other articles of gold.
Filipino nobility during the colonial period
When the Spaniards expanded their dominion to the Americas and later on to the East Indies, they encountered different cultures that existed in these territories, which possessed different social structures (more or less complex) where as a common trait among them, there was a ruling class that held power and determined the destinies of peoples and territories under its control. These elites were those that the Spaniards discovered and conquered in the New World. It was these Spanish conquerors, using European terminology, who correlated the identity of classes of the pre-Hispanic elites, alongside with the royalty or with the nobility of Europe at the time according to appropriate categories, e.g., emperor, king, etc.
The thoughts of the more notable among them give useful insights on how the first European settlers regarded the rulers of Indians in the New World. Fray Bartolome de las Casas, for example, would argue that indigenous nobles were "(...) as Princes and Infantes like those of Castile." Juan de Matienzo, during his rule of Peru, said that the "Caciques, curacas and principales are the native princes of the Indians." In the Lexicon of Fray Domingo de Santo Tomás and Diego González Holguín as well as in the work of Ludovico Bertonio, several entries included were devoted to identify the pre-Hispanic society, comparing their old titles to those of their counterpart in the Iberian peninsula. The same approach to the local society in the East Indies was used by the Spaniards.
The principalía was the first estate of the four echelons of Filipino society at the time of contact with Europeans, as described by Fr. Juan de Plasencia, a pioneer Franciscan missionary in the Philippines. Loarca and the Canon Lawyer Antonio de Morga, who classified society into three estates (ruler, ruled, slave), also affirmed the preeminence of the principales. All members of this first estate (the datu class) were principales whether they were actually occupying positions to rule or not. The Real Academia Española defines Principal as, "A person or thing that holds first place in value or importance, and is given precedence and preference before others". This Spanish term best describes the first estate of the society in the archipelago, which the Europeans came in contact with. San Buenaventura's 1613 Dictionary of the Tagalog language defines three terms that clarify the concept of principalía:
Poon or Punò (chief, leader) – principal or head of a lineage.
Ginoo – a noble by lineage and parentage, family and descent.
Maguinoo – principal in lineage or parentage.
The Spanish term Señor (lord) is equated with all these three terms, which are distinguished from the nouveau riche imitators scornfully called maygintao (man with gold or hidalgo by wealth, and not by lineage). The first estate was the class that constituted a birthright aristocracy with claims to respect, obedience, and support from those of subordinate status.
Local nobility and the Laws of the Indies
After conquering Manila and making it the capital of the colonial government in 1571, Miguel Lopez de Legaspi noted that aside from the rulers of Cebu and of the capital, the other principales existing in the Archipelago were either heads or Datus of the barangays allied as nations; or tyrants, who were respected only by the law of the strongest. From this system of the law of the strongest sprung intestinal wars with which certain dominions annihilate one another. Attentive to these existing systems of government without stripping these ancient sovereigns of their legitimate rights, Legaspi demanded from these local rulers vassalage to the Spanish Crown. On 11 June 1594, shortly before confirming Legaspi's erection of Manila as a city on June 24 of the same year, King Philip II issued a Royal Decree institutionalizing the recognition of the rights and privileges of the local ruling class of the Philippines, which was later included in the codification of the Recopilación de las leyes de los reynos de Las Indias.
In Book VI, Title VII (dedicated to the caciques) of the Recopilación de las leyes de los reynos de Las Indias, (Laws of the Indies) there are three very interesting laws insofar as they determined the role that the caciques were to play in the Indian new social order under the colonial rule. With these laws, the Spanish Crown officially recognized the rights of these principales of pre-Hispanic origin. Specifically, Laws 1, 2 (dedicated to American territories) and; Law 16, instituted by Philip II, on 11 June 1594 which is similar to the previous two, with the main purpose of assuring that the principales of the Philippines would be treated well and be entrusted with some government charge. Likewise, this provision extended to the Filipino caciques all policies concerning the Indian caciques under the Spanish rule.
To implement a system of indirect rule in the Philippines, King Philip II ordered, through this law of 11 June 1594, that the honors and privileges of governing, which were previously enjoyed by the local royalty and nobility in formerly sovereign principalities who later accepted the catholic faith and became subject to him, should be retained and protected. He also ordered the Spanish governors in the Philippines to treat these native nobles well. The king further ordered that the natives should pay to these nobles the same respect that the inhabitants accorded to their local Lords before the conquest without prejudice to the things that pertain to the king himself or to the encomenderos.
The royal decree says: "It is not right that the Indian chiefs of Filipinas be in a worse condition after conversion; rather they should have such treatment that would gain their affection and keep them loyal, so that with the spiritual blessings that God has communicated to them by calling them to His true knowledge, the temporal blessings may be added, and they may live contentedly and comfortably. Therefore, we order the governors of those islands to show them good treatment and entrust them, in our name, with the government of the Indians, of whom they were formerly lords. In all else the governors shall see that the chiefs are benefited justly, and the Indians shall pay them something as a recognition, as they did during the period of their paganism, provided this is without prejudice to the tributes that are to be paid us, or to that which pertains to their encomenderos."
Through this law, the local Filipino nobles (under the supervision of the Spanish colonial officials) became encomenderos (trustees) also of the King of Spain, who ruled the country indirectly through these nobles. Corollary to this provision, all existing doctrines and laws regarding the Indian caciques were extended to Filipino principales. Their domains became selfruled tributary barangays of the Spanish Empire.
The system of indirect government helped in the pacification of the rural areas, and institutionalized the rule and role of an upper class, referred to as the "principalía" or the "principales", until the fall of the Spanish regime in the Philippines in 1898.
The Spanish dominion brought serious modifications to the life and economy of the indigenous society. The shift of emphasis to agriculture marginalized, weakened, and deprived the hildalgolike warriors of their significance in the barangays, especially in the traderaiding societies in the Visayas (which needed the Vikinglike services of the "timawas"). By the 1580s, many of these noblemen found themselves reduced to leasing land from their datus. Their military functions were eclipsed by farming. Whatever remained would quickly be disoriented, deflected, and destroyed by the superior military power of Spain.
By the end of the 16th century, any claim to Filipino royalty, nobility or hidalguía had disappeared into a homogenized, Hispanicized and Christianized nobility – the principalía. This remnant of the precolonial royal and noble families continued to rule their traditional domain until the end of the Spanish regime. However, there were cases when succession in leadership was also done through election of new leaders (cabezas de barangay), especially in provinces near the Manila where the ancient ruling families lost their prestige and role. It appears that proximity to the seat of colonial Government diminished their power and significance. In distant territories, where the central authority had less control and where order could be maintained without using coercive measures, hereditary succession was still enforced, until Spain lost the archipelago to the Americans. These distant territories remained patriarchal societies, where people retained great respect for the principalía.
Emergence of the mestizo class
The principalía was larger and more influential than the preconquest indigenous nobility. It helped create and perpetuate an oligarchic system in the Spanish colony for more than three hundred years,
serving as a link between the Spanish authorities and the local inhabitants.
The Spanish colonial government's prohibition for foreigners to own land in the Philippines contributed to the evolution of this form of oligarchy. In some provinces of the Philippines, many Spaniards and foreign merchants intermarried with the rich and landed MalayoPolynesian local nobilities. From these unions, a new cultural group was formed, the mestizo class. Their descendants emerged later to become an influential part of the government, and of the principalía.
The increase of population in the Archipelago, as well as the growing presence of Chinese and Mestizos also brought about social changes that necessitated the creation of new members of the principalía for these sectors of Filipino colonial society. In this regard, pertinent laws were promulgated, such as the above-mentioned royal decree issued on December 20, 1863 (signed in the name of Queen Isabella II by the Minister of the Colonies, José de la Concha), which indicate certain conditions for promotion to the principalía class, among others, the capacity to speak the Castilian language. The reform also paved way to the creation of authorities among the Chinese guilds in enclaves of big settlements like Manila, on condition that these leaders were Christianized. Furthermore, Chinese Gobernadorcillos were not given jurisdiction over municipal districts. Their jurisdiction was exceptional and they only exercised this over persons belonging to their guilds.
Royal Cedula of Charles II
The emergence of the mestizo class was a social phenomenon not localized in the Philippines, but was also very much present in the American continent.
On 22 March 1697, Charles II of Spain issued a Royal Cedula, related to this phenomenon. The Cedula gave distinctions to classes of persons in the social structure of the Crown Colonies, and defined the rights and privileges of colonial functionaries. In doing so, the Spanish Monarch touched another aspect of the colonial society, i.e., the status of indigenous nobles, extending to these indigenous nobles, as well as to their descendants, the preeminence and honors customarily attributed to the Hidalgos of Castile. The Royal Cedula stipulates:
"Bearing in mind the laws and orders issued by my Progenies, Their Majesties the Kings, and by myself, I order the good treatment, assistance, protection and defense of the native Indians of America, that they may be taken cared of, maintained, privileged and honored like all other vassals of my Crown and that, in the course of time, the trial and use of them stops. I feel that its timely implementation is very suitable for public good, for the benefit of the Indians and for the service of God and mine. That, consequently, with respect to the Indian mestizos, the Archbishops and Bishops of the Indias are charged by Article 7, Title VII, Book I of the Laws of the Indies, for ordaining priests, being attentive to the qualities and circumstances present, and if some mestizas ask to be religious, they (Bishops) shall give support to those whom they admit in monasteries and for vows. But in particular, with regard to the requirements for Indians in order to accede to ecclesiastical or secular, governmental, political and military positions, which all require purity of blood and, by its Statute, the condition of nobility, there is distinction between the Indians and mestizos, inasmuch as there is between the [1] descendants of the notable Indians called caciques, and [2] those who are issues of less notable Indian tributaries, who in their pagan state acknowledged vassalage. It is deemed that all preeminence and honors, customarily conferred on the Hijosdalgos of Castile, are to be attributed to the first and to their descendants, both ecclesiastical and secular; and that they can participate in any communities which, by their statutes require nobility; for it is established that these, in their heathenism, were nobles to whom their subordinates acknowledged vassalage and to whom tributes were paid. Such kind of nobility is still retained and acknowledged, keeping these as well as their privileges wherever possible, as recognized and declared by the whole section on the caciques, which is Title VII, Book VI of the Laws of the Indies, wherein for the sake of distinction, the subordinate Indians were placed under (these noble’s) dominion called «cacicazgo», transmissible from elder to elder, to their posteriority…"
The Royal Cedula was enforced in the Philippines and benefited many indigenous nobles. It can be seen very clearly and irrefutably that, during the colonial period, indigenous chiefs were equated with the Spanish Hidalgos, and the most resounding proof of the application of this comparison is the General Military Archive in Segovia, where the qualifications of "Nobility" (found in the Service Records) are attributed to those Filipinos who were admitted to the Spanish Military Academies and whose ancestors were caciques, encomenderos, notable Tagalogs, chieftains, governors or those who held positions in the municipal administration or government in all different regions of the large islands of the Archipelago, or of the many small islands of which it is composed. In the context of the ancient tradition and norms of Castilian nobility, all descendants of a noble are considered noble, regardless of fortune.
At the Real Academia de la Historia, there is also a substantial amount of records giving reference to the Philippine Islands, and while most part corresponds to the history of these islands, the Academia did not exclude among its documents the presence of many genealogical records. The archives of the Academia and its royal stamp recognized the appointments of hundreds of natives of the Philippines who, by virtue of their social position, occupied posts in the administration of the territories and were classified as "Nobles". The presence of these notables demonstrates the cultural concern of Spain in those Islands to prepare the natives and the collaboration of these in the government of the Archipelago. This aspect of Spanish rule in the Philippines appears much more strongly implemented than in the Americas. Hence in the Philippines, the local nobility, by reason of charge accorded to their social class, acquired greater importance than in the Indies of the New World.
Christianization under the Spanish Crown
With the recognition of the Spanish monarchs came the privilege of being addressed as Don or Doña. – a mark of esteem and distinction in Europe reserved for a person of noble or royal status during the colonial period. Other honors and high regard were also accorded to the Christianized Datus by the Spanish Empire. For example, the Gobernadorcillos (elected leader of the Cabezas de Barangay or the Christianized Datus) and Filipino officials of justice received the greatest consideration from the Spanish Crown officials. The colonial officials were under obligation to show them the honor corresponding to their respective duties. They were allowed to sit in the houses of the Spanish Provincial Governors, and in any other places. They were not left to remain standing. It was not permitted for Spanish Parish Priests to treat these Filipino nobles with less consideration.
The Gobernadorcillos exercised the command of the towns. They were Port Captains in coastal towns. They also had the rights and powers to elect assistants and several lieutenants and alguaciles, proportionate in number to the inhabitants of the town.
On the day on which the gobernadorcillo would take on government duties, his town would hold a grand celebration. A festive banquet would be offered in the municipal or city hall where he would occupy a seat, adorned by the coat of arms of Spain and with fanciful designs, if his social footing was of a respectable antiquity.
On holy days the town officials would go to the church, together in one group. The principalía and cuadrilleros (police patrol or assistance) formed two lines in front of the Gobernadorcillo. They would be preceded by a band playing the music as they process towards the church, where the Gobernadorcillo would occupy a seat in precedence among those of the chiefs or cabezas de barangay, who had benches of honor. After the mass, they would usually go to the parish rectory to pay their respects to the parish priest. Then, they would return to the tribunal (municipal hall or city hall) in the same order, and still accompanied by the band playing a loud double quick march called paso doble.
The gobernadorcillo was always accompanied by an alguacil or policia (police officer) whenever he went about the streets of his town.
Class symbols
At the later part of the Spanish period, this class of elite Christian landowners started to adopt a characteristic style of dress and carry regalia. They wore a distinctive type of salakot, a Philippine headdress commonly used in the archipelago since the precolonial period. Instead of the usual headgear made of rattan, of reeds called Nitó, or of various shells such as capiz shells, which common Filipinos would wear, the principales would use more prized materials like tortoise shell. The special salakot of the ruling upper class was often adorned with ornate capping spike crafted in metals of value like silver, or, at times, gold. This headgear was usually embossed also with precious metals and sometimes decorated with silver coins or pendants that hung around the rim.
It was mentioned earlier that the royalties and nobilities of the Pre-colonial societies in the Visayas, Northern Mindanao, and Luzon (Cebu, Bohol Panay, Mindoro and Manila) also shared the many customs of royalties and nobles in Southeast Asian territories (with Hindu and Buddhist cultures), especially in the generous use of gold and silk in their costumes, as the Boxer Codex demonstrate. The measure of the prince's possession of gold and slaves was proportionate to his greatness and nobility. When the Spaniards reached the shores of the Archipelago, they observed that there was hardly any "Indian" who did not possess chains and other articles of gold.
However, this way of dressing was slowly changed as colonial power took firmer grips of the local nobilities and finally ruled the Islands. By the middle of the 19th century, the Principalía's usual attire was black jacket, European trousers, salakot and colored (velvet) slippers. Many would even wear varnished shoes, such as high quality leather shoes. Their shirt was worn outside the trousers. Some sources say that the Spaniards did not allow the native Filipinos to tuck their shirts under their waistbands, nor were they allowed to have any pockets. It was said that the intention of the colonizers was to remind the natives that they remain indios regardless of the wealth and power they attain. It was a way for discriminating the natives from their Spanish overlords. The locals also used native fabrics of transparent appearance. It is believed that transparent, sheer fabric were mainly for discouraging the Indios from hiding any weapons under their shirts. However, the native nobles did not wish to be outdone in the appearance of their apparel. And so, they richly embroidered their shirts with somewhat baroque designs on delicate Piña fabric. This manner of sporting what originally was a European attire for men led the way to the development of the Barong, which later became the national costume for Filipino men.
Distinctive staffs of office were associated with the Filipino ruling class. The Gobernadorcillo would carry a tasseled cane (baston) decorated with precious metals, while his lieutenants would use some kind of wands referred to as "Vara (rama)". On occasions and ceremonies of greater solemnity, they would dress formally in frock coat and high crowned hat.
One distinctive status symbol of the Principalía families of the rural pueblos, which remain handed down to their descendants until the present time, is the ownership of a santo or religious statue. Principalía families in provinces were mostly hacienderos, who had the means and manpower to maintain and decorate carrozas or floats of sacred images, which are often processed during various religious occasions, most importantly the town fiesta and Holy Week. Those who were endowed with more material possessions and power would own images with ivory heads and hands, and crowned with gold or silver halos. From the 17th to the 19th century, Spanish missionaries established a system of sponsorship for religious images. Those who sponsored santos were called "camareros". The prestige associated to being camareros influenced the contemporary trend among well-to-do Filipino Catholic families to sponsor carrozas for processions organized during various religious festivities in the country.
Race and status
Although the principalía had many privileges, there were limitations to how much power they were entitled to under Spanish rule. A member of the principalía could never become the GovernorGeneral (Gobernador y Capitán General), nor could he become the provincial governor (alcalde mayor).Hypothetically, a member of the principalía could obtain the position of provincial governor if, for example, a noblewoman of the principalía married a Spanish man born in the Philippines (an Insular ) of an elevated social rank. In which case her children would be classified as white (or blanco). However, this did not necessarily give a guarantee that her sons would obtain the position of provincial governor. Being mestizos was not an assurance that they would be loyal enough to the Spanish crown. Such unquestionable allegiance was necessary for the colonizers in retaining control of the archipelago.
The children born of the union between the principales and the insulares, or better still, the peninsulares (a Spanish person born in Spain) are neither assured access to the highest position of power in the colony. Flexibility is known to have occurred in some cases, including that of Marcelo Azcárraga Palmero who even became interim Prime Minister of Spain on August 8, 1897, until October 4 of that same year. Azcárraga also went on to become Prime Minister of Spain again in two more separate terms of office. In 1904, he was granted Knighthood in the very exclusive Spanish chilvalric Order of the Golden Fleece — the only mestizo recipient of this prestigious award.
In the archipelago, however, most often ethnic segregation did put a stop to social mobility, even for members of the principalía – a thing that is normally expected in a colonial rule. It was not also common for principales to be too ambitious so as to pursue very strong desire for obtaining the office of Governor-General. For most part, it appears that the local nobles were inclined to be preoccupied with matters concerning their barangays and towns.
The town mayors received an annual salary of 24 pesos, which was nothing in comparison to the provincial governor's 1,600 pesos and the GovernorGeneral's 40,000 pesos. Even though the gobernadorcillo's salary was not subject to tax, it was not enough to carry out all the required duties expected of such a position. This explains why among the principales, those who had more wealth were likely to be elected to the office of gobernadorcillo (municipal governor).
Principales tend to marry those who belong to their class, to maintain wealth and power. However, unlike most European royalties who marry their close relatives, e.g. first cousins, for this purpose, Filipino nobles abhorred Incestuous unions. In some cases, members of the principalia married wealthy and nonnoble Chinese (Sangley) merchants, who made their fortune in the colony. Principales born of these unions had possibilities to be elected gobernadorcillo by their peers.
Wealth was not the only basis for intermarriage between the principales and foreigners, which were commonly prearranged by parents of the bride and groom. Neither did having a Spaniard as one of the parents of a child ennobles him. In a traditionally conservative Catholic environment with Christian mores and norms strictly imposed under the tutelage and prying eyes of Spanish friars, marriage to a divorcée or secondhand spouse (locally referred to as "tirá ng ibá", literally "others' leftovers") was scornfully disdained by Filipino aristocrats. Virgin brides were a must for the principalía, as well as for the Filipinos in general.
Children who were born outside of marriage, even of Spaniards, were not accepted in the circle of principales. These were severely ostracized in the conservative colonial society and were pejoratively called an "anák sa labás", i.e., "child from outside" (viz., outside marriage), a stigma that still remains part of the contemporary social mores.
During the last years of the regime, there were efforts to push for a representation of the archipelago in the Spanish Cortes among a good number of principales. This move was prevalent especially among those who have studied in Spain and other parts of Europe (Ilustrados). That initiative, however, was met with snobbery by the colonizers, who denied the natives of equal treatment, in any way possible.
Towards the end of the 19th century, civil unrest occurred more frequently. This situation was exposed by the writer and leader of the Propaganda Movement, José Rizal, in his two novels: Noli Me Tángere, and El Filibusterismo (dedicated to the three Filipino Catholic priests, who were executed on February 17, 1872, by Spanish colonial authorities, on charges of subversion arising from the 1872 Cavite mutiny). Because of this growing unrest that turned into an irreversible revolution, the position of provincial governor became awarded more and more often to the peninsulares. In the ecclesiastical sector, a decree was made, stating there were to be no further appointments of Filipinos as parish priests.
Status quaestionis
The recognition of the rights and privileges of the Filipino Principalía as equivalent to those of the Hidalgos of Castile appears to facilitate entrance of Filipino nobles into institutions under the Spanish Crown, either civil or religious, which required proofs of nobility. However, such approximation may not be entirely correct since in reality, although the principales were vassals of the Spanish Crown, their rights as sovereign in their former dominions were guaranteed by the Laws of the Indies, more particularly the Royal Decree of Philip II of 11 June 1594, which Charles II confirmed for the purpose stated above, to satisfy the requirements of the existing laws in the Peninsula.
From the beginning of the Spanish colonial period, the conquistador Miguel Lopez de Legaspi retained the hereditary rights of the local ancient sovereigns of the Archipelago who vowed allegiance to the Spanish Crown. Many of them accepted the Catholic religion and became Spanish allies at this time. He only demanded from these local rulers vassalage to the Spanish Crown, replacing the similar overlordship, which previously existed in a few cases, e.g., Sultanate of Brunei's overlordship of the Kingdom of Maynila. Other independent polities, which were not vassals to other States, e.g., Confederation of Madja-as and the Rajahnate of Cebu, were de facto Protectorates/Suzerainties having had alliances with the Spanish Crown before the Kingdom took total control of most parts of the Archipelago.
A question remains after the cessession of Spanish rule in the Philippines regarding any remaining rank equivalency of Filipino Principalía. Reassuming their ancestral titles as Datus while retaining the Hidalguía of Castile (their former protector state), as subsidiary title, is the logical consequence of the above-mentioned recognition by Charles II of Spain. As guaranteed by this Spanish Monarch's Royal Decree, the ancient nobility of the casiques within his realm (which includes the Filipino Principales) "is still retained and acknowledged".
Besides, the principales retained many of the ordinary obligations of local rulers as manifested in constructing local infrastructures and in maintaining the government offices without funds from Spain. Expenditures of the local government came from the private and personal resources of the principales. These were not taxes that citizens were obliged to pay as tributes required by their Spanish Crown from its subjects. In many ways, the principales retained much of the responsibilities, powers and obligations of the pre-colonial Datus – their predecessors, except for the right to organize their own armed forces. Only the right of Gobernadorcillos to appoint alguacils and "cuadrilleros" (police patrol or assistance) seem to point out to some kind of vestige of this pre-colonial sign of the Datu's coercive power and responsibility to defend his domain.
Like deposed royal families elsewhere in the world, which continue to claim hereditary rights as pretenders to the former thrones of their ancestors, the descendants of the Principalía have similar claims to the historical domains of their forebears.
See also
Filipino styles and honorifics
Gobernadorcillo
Cabeza de Barangay
Barangay state
Datu
Lakan
Maginoo
Maharlika
Timawa
Babaylan
History of the Philippines (1521–1898)
Confederation of Madja-as
Maragtas
Kingdom of Maynila
Kingdom of Namayan
Kingdom of Butuan
Rajahnate of Cebu
Sultanate of Maguindanao
Sultanate of Sulu
Confederation of Sultanates in Lanao
List of political families in the Philippines
Notes
Further reading
Luque Talaván, Miguel, Análisis Histórico-Jurídico de la Nobleza Indiana de Origen Prehispánico (Conferencia en la Escuela «Marqués de Aviles» de Genealogía, Heráldica y Nobiliaria de la «Asociación de Diplomados en Genealogía, Heráldica y Nobiliaria»).
Vicente de Cadenas y Vicent, Las Pruebas de Nobleza y Genealogia en Filipinas y Los Archivios en Donde se Pueden Encontrar Antecedentes de Ellas in Heraldica, Genealogia y Nobleza en los Editoriales de «Hidalguia», 1953–1993: 40 años de un pensamiento, Madrid: 1993, Graficas Ariás Montano, S.A.-MONTOLES, pp. 232–235.[8][8][8][8][8]
José Feced y Temprado, Manual del Gobernadorcillo en el Ejercicio de sus Atribuciones Judiciales y Escriturárias (Guia del Hombre de Negocios en Filipinas), Manila: 1867, Imp. de Ramirez y Giraudier.] Don José Feced y Temprado, Manual del Gobernadorcillo en el Ejercicio de sus Atribuciones Judiciales y Escriturárias (Guia del Hombre de Negocios en Filipinas), Manila: 1867, Imp. de Ramirez y Giraudier.
Rafael Moreno y Diez, Manual del Cabeza de Barangay en Castellano y en Tagalog, Manila: 1874, Imprenta "Amigos del Pais".
Regalado Trota Jose, The Many Images of Christ (particularly in the section: Spain retains the old class system) in DALISAY, Jose Y, ed. (1998), Kasaysayan: The Story of the Filipino People.
See also: Alfredo Reyes; CORDERO-FERNANDO, Gilda; QUIRINO, Carlos & GUTIERREZ, Manuel C, eds. Filipino Heritage: the Making of a Nation (10 vols), Manila: 1997, Lahing Pilipino Publications.
Celdrán Ruano, Julia, ed. (2009). La configuración del sistema jurídico hispano en las Islas Filipinas: orígenes y evolución (siglos XVI-XVIII) in Anales de Derecho, Vol. 27 (2009) (pdf) (in Español).
Jorge Alberto Liria Rodríguez, LA PECULIAR ADMINISTRACIÓNESPAÑOLA EN FILIPINAS (1890–1898), Las Palmas de Gran Canaria: Anroart, Asociación canaria para la difusión de la cultura y el arte , 2004.
Maura Law.
References
Honorary titles
History of the Philippines (1565–1898)
Captaincy General of the Philippines
Social class in the Philippines
People of Spanish colonial Philippines
Filipino nobility
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[
"Jedaiah was a priest of ancient Israel after the order of Aaron, during the reign of King David in the 10th century BCE. Jedaiah led the second of the 24 priestly divisions. The biblical passage of 1 Chronicles 24 documents the division of the priests during the reign of King David. These priests were all descendants of Aaron, who had four sons: Nadab, Abihu, Eleazar and Ithamar. However, Nadab and Abihu died before Aaron and only Eleazar and Ithamar had sons. One priest, Zadok, from Eleazar's descendants and another priest, Ahimelech, from Ithamar's descendants were designated to help create the various priestly orders. Sixteen of Eleazar's descendants were selected to head priestly orders while only eight of Ithamar's descendants were so chosen. The passage states that this was done because of the greater number of leaders among Eleazar's descendants. Lots were drawn to designate the order of ministering for the heads of the priestly orders when they entered the temple. Since each order was responsible for ministering during a different week, Jedaiah's order was stationed as a watch at the Tabernacle during the second week of the year on the Hebrew calendar. \n\nThe descendants of Jedaiah were regarded as one of the \"families of Israel.\" Another priest named Jedaiah, presumably a descendant, is also named in a genealogy at 1 Chronicles 9:10. Jedaiah, son of Joiarib is mentioned in Nehemiah 11:10 among those who settled in Jerusalem and two priests named Jedaiah are listed in Nehemiah 12:6-7 among the priests who returned from the Babylonian exile. Nehemiah 3:10 mentions Jedaiah, son of Harumaph, as one who made repairs in the wall at Jerusalem near his own house.\n\nExternal links\n 1 Chronicles 24 on Chabad.org with Rashi's commentary\nHebrew-English parallel text\nWeb Bible Encyclopedia \nHitchcock's Dictionary of Bible Names\n\n10th-century BCE Hebrew people",
"The Krio Descendants Union or (formerly) the Creole Descendants Union is an offshoot of the 'Settlers' Descendants Union' which was founded to unite the Creole people and the Oku people during the decolonisation era. The Krio Descendants Union was founded as the Creole Descendants Union by George T.O. Robinson, a Creole civil servant who served as the first President of the organisation. The organization's current president is Mrs. Cassandra Garber, who was a former teacher at the Freetown Secondary School for Girls. In Freetown, Sierra Leone the union is called the 'Krio Descendants Yunion' in the Krio and it is abbreviated as KDY.\n\nSettlers' Descendants Union\nThe 'Settlers' Descendants' Union' was among the first organizations which organized and united Krios to become politically active despite not being in itself a political party. The Settlers Descendants Union was established in 1952 by Johann Christianus Lucan, who served as President of the Union, Ephraim Jonathan Robinson, Vice President, and Nicholas Asgill. The Settlers' Descendants Union mounted costly actions in the British Courts against the independence settlement.\n\nFormation of the Krio Descendants Union\nIn 1990, the 'Settlers' Descendants Union' was given new berth and was re-established as the Creole Descendants Union. The founding members of the present-day Krio Descendants Union included George T.O. Robinson, the younger brother of Ephraim J. Robinson, Samuel Stober Taylor, Wilward Arthur Cummings, Daisy Myers, Charles B. Jones, Rosaland Claudius-Cole, George Fewry, Emanuel Fraser-Davies, and H.M. James.\n\nThe Krio Descendants Union\nThe union helps to unite the causes of the Krios (who still experience some discrimination today) and recently marked the anniversary of the founding of Freetown, Sierra Leone and the abolishment of the slave trade with a press release. KDY also is trying to renew links with African Americans and donated $1000 to victims of Hurricane Katrina.\n\nExternal links\n\n \nSierra Leone Creole organisations\nSierra Leone Creole people"
] |
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"Fats Domino",
"Domino and Hurricane Katrina"
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C_59e99b9b46e44d24a78bee0859d4058a_0
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What is domino?
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What is domino in relation to Fats Domino?
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Fats Domino
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As Hurricane Katrina approached New Orleans in August 2005, Domino chose to stay at home with his family, partly because his wife, Rosemary, was in poor health. His house was in an area that was heavily flooded. Domino was rumored to have died, and his home was vandalized when someone spray-painted the message "RIP Fats. You will be missed". On September 1, the talent agent Al Embry announced that he had not heard from Domino since before the hurricane struck. Later that day, CNN reported that Domino had been rescued by a Coast Guard helicopter. Until then, even family members had not heard from him since before the storm. Embry confirmed that Domino and his family had been rescued. The family was then taken to a shelter in Baton Rouge, after which they were picked up by JaMarcus Russell, the starting quarterback of the Louisiana State University football team, and the boyfriend of Domino's granddaughter. He let the family stay in his apartment. The Washington Post reported that on September 2, they had left Russell's apartment after sleeping three nights on the couch. "We've lost everything," Domino said, according to the Post. By January 2006, work to gut and repair Domino's home and office had begun (see Reconstruction of New Orleans). In the meantime, the Domino family resided in Harvey, Louisiana. President George W. Bush made a personal visit and replaced the National Medal of Arts that President Bill Clinton had previously awarded Domino. The gold records were replaced by the RIAA and Capitol Records, which owned the Imperial Records catalogue. CANNOTANSWER
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President George W. Bush made a personal visit and replaced the National Medal of Arts that President Bill Clinton had previously awarded Domino.
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Antoine Dominique Domino Jr. (February 26, 1928 – October 24, 2017), known as Fats Domino, was an American pianist and singer-songwriter. One of the pioneers of rock and roll music, Domino sold more than 65 million records. Born in New Orleans to a French Creole family, Domino signed to Imperial Records in 1949. His first single "The Fat Man" is cited by some historians as the first rock and roll single and the first to sell more than 1 million copies. Domino continued to work with the song's co-writer Dave Bartholomew, contributing his distinctive rolling piano style to Lloyd Price's "Lawdy Miss Clawdy" (1952) and scoring a string of mainstream hits beginning with "Ain't That a Shame" (1955). Between 1955 and 1960, he had eleven Top 10 US pop hits. By 1955, five of his records had sold more than a million copies, being certified gold.
Domino was shy and modest by nature but made a significant contribution to the rock and roll genre. Elvis Presley declared Domino a "huge influence on me when I started out" and described him as "the real king of rock 'n' roll". The artist himself did not define his work as rock and roll, saying of the genre "It wasn't anything but the same rhythm and blues I'd been playing down in New Orleans". Four of Domino's records were named to the Grammy Hall of Fame for their significance: "Blueberry Hill", "Ain't That A Shame", "Walking to New Orleans" and "The Fat Man". He was inducted into the Rock and Roll Hall of Fame as part of its first group of inductees in 1986. The Associated Press estimates that during his career, Domino "sold more than 110 million records".
Biography
Early life and education
Antoine Domino Jr. was born and raised in New Orleans, Louisiana, the youngest of eight children born to Antoine Caliste Domino (1879–1964) and Marie-Donatille Gros (1886–1971). The Domino family was of French Creole background, and Louisiana Creole was his first language. Like most such families, the Dominos were Catholic.
Antoine was born at home with the assistance of his grandmother, a midwife. His name was initially misspelled as Anthony on his birth certificate. His family had recently arrived in the Lower Ninth Ward from Vacherie, Louisiana. His father was a part-time violin player who worked at a racetrack.
He attended the Louis B. Macarty School, leaving to start work as a helper to an ice delivery man. Domino learned to play the piano in about 1938 from his brother-in-law, the jazz guitarist Harrison Verrett.
Early career (1940s)
By age 14, Domino was performing in New Orleans bars. In 1947, Billy Diamond, a New Orleans bandleader, accepted an invitation to hear the young pianist perform at a backyard barbecue. Domino played well enough that Diamond asked him to join his band, the Solid Senders, at the Hideaway Club in New Orleans, where he would earn $3 a week playing the piano. Diamond nicknamed him "Fats", because Domino reminded him of the renowned pianists Fats Waller and Fats Pichon, but also because of his large appetite.
Recordings for Imperial Records (1949–1962)
Domino was signed to the Imperial Records label in 1949 by owner Lew Chudd, to be paid royalties based on sales instead of a fee for each song. He and producer Dave Bartholomew wrote "The Fat Man", a toned down version of a song about drug addicts called "Junker Blues"; the record had sold a million copies by 1951. Featuring a rolling piano and Domino vocalizing "wah-wah" over a strong backbeat, "The Fat Man" is widely considered the first rock-and-roll record to achieve this level of sales. In 2015, the song would enter the Grammy Hall of Fame.
Domino released a series of hit songs with Bartholomew (also the co-writer of many of the songs), the saxophonists Herbert Hardesty and Alvin "Red" Tyler, the bassist Billy Diamond and later Frank Fields, and the drummers Earl Palmer and Smokey Johnson. Other notable and long-standing musicians in Domino's band were the saxophonists Reggie Houston, Lee Allen, and Fred Kemp, Domino's trusted bandleader.
While Domino's own recordings were done for Imperial, he sometimes sat in during that time as a session musician on recordings by other artists for other record labels. Domino's rolling piano triplets provided the memorable instrumental introduction for Lloyd Price's first hit, "Lawdy Miss Clawdy", recorded for Specialty Records on March 13, 1952, at Cosimo Matassa's J&M Studios in New Orleans (where Domino himself had earlier recorded "The Fat Man" and other songs). Dave Bartholomew was producing Price's record, which also featured familiar Domino collaborators Hardesty, Fields and Palmer as sidemen, and he asked Domino to play the piano part, replacing the original session pianist.
Domino crossed into the pop mainstream with "Ain't That a Shame" (mislabeled as "Ain't It a Shame") which reached the Top Ten. This was the first of his records to appear on the Billboard pop singles chart (on July 16, 1955), with the debut at number 14. A milder cover version by Pat Boone reached number 1, having received wider radio airplay in an era of racial segregation. In 1955, Domino was said to be earning $10,000 a week while touring, according to a report in the memoir of artist Chuck Berry. Domino eventually had 37 Top 40 singles, but none made it to number 1 on the Pop chart.
Domino's debut album contained several of his recent hits and earlier blues tracks that had not been released as singles, and was issued on the Imperial label (catalogue number 9009) in November 1955, and was reissued as Rock and Rollin' with Fats Domino. The reissue reached number 17 on the Billboard Pop Albums chart.
His 1956 recording of "Blueberry Hill", a 1940 song by Vincent Rose, Al Lewis and Larry Stock (which had previously been recorded by Gene Autry, Louis Armstrong and others), reached number 2 on the Billboard Juke Box chart for two weeks and was number 1 on the R&B chart for 11 weeks. It was his biggest hit, selling more than 5 million copies worldwide in 1956 and 1957. The song was subsequently recorded by Elvis Presley, Little Richard, and Led Zeppelin. Some 32 years later, the song would enter the
Grammy Hall of Fame.
Domino had further hit singles between 1956 and 1959, including "When My Dreamboat Comes Home" (Pop number 14), "I'm Walkin'" (Pop number 4), "Valley of Tears" (Pop number 8), "It's You I Love" (Pop number 6), "Whole Lotta Lovin'" (Pop number 6), "I Want to Walk You Home" (Pop number 8), and "Be My Guest" (Pop number 8). In 1957, Domino maintained "What they call rock 'n' roll now is rhythm and blues. I've been playing it for 15 years in New Orleans".
Domino appeared in two films released in 1956: Shake, Rattle & Rock! and The Girl Can't Help It. On December 18, 1957, his hit recording of "The Big Beat" was featured on Dick Clark's American Bandstand.
He was also featured in a movie of the same name.
On November 2, 1956, a riot broke out at a Domino concert in Fayetteville, North Carolina. The police used tear gas to break up the unruly crowd. Domino jumped out a window to avoid the melee; he and two members of his band were slightly injured. During his career, four major riots occurred at his concerts, "partly because of integration", according to his biographer Rick Coleman. "But also the fact they had alcohol at these shows. So they were mixing alcohol, plus dancing, plus the races together for the first time in a lot of these places." In November 1957, Domino appeared on The Ed Sullivan Show; no disturbance accompanied this performance.
In the same year, the article "King of Rock 'n' Roll" in Ebony magazine featured Domino who said he was on the road 340 days a year, up to $2,500 per evening, and grossing over $500,000; Domino also told readers that he owned 50 suits, 100 pairs of shoes and a $1,500 diamond horseshoe stick pin.
Domino had a steady series of hits for Imperial through early 1962, including "Walking to New Orleans" (1960, Pop number 6), co-written by Bobby Charles, and "My Girl Josephine" (Pop number 14) in the same year. He toured Europe in 1962 and met the Beatles who would later cite Domino as an inspiration. After returning, he played the first of his many stands in Las Vegas.
Imperial Records was sold in early 1963, and Domino left the label. "I stuck with them until they sold out," he said in 1979. In all, he recorded over 60 singles for Imperial, placing 40 songs in the top 10 on the R&B chart and 11 in the top 10 on the Pop chart, twenty-seven of which were double-sided hits.
Recordings after leaving Imperial (1963–1970s)
Domino moved to ABC-Paramount Records in 1963. The label dictated that he record in Nashville, Tennessee, rather than New Orleans. He was assigned a new producer (Felton Jarvis) and a new arranger (Bill Justis). Domino's long-term collaboration with the producer, arranger, and frequent co-writer Dave Bartholomew, who oversaw virtually all of his Imperial hits, was seemingly at an end. Jarvis and Justis changed the Domino sound somewhat, notably by adding the backing of a countrypolitan-style vocal chorus to most of his new recordings. He released 11 singles for ABC-Paramount, several which hit the Top 100 but just once entering the Top 40 ("Red Sails in the Sunset", 1963). By the end of 1964 the British Invasion had changed the tastes of the record-buying public, and Domino's chart run was over.
Despite the lack of chart success, Domino continued to record steadily until about 1970, leaving ABC-Paramount in mid-1965 and recording for Mercury Records, where he delivered a live album and two singles. A studio album was planned but stalled with just four tracks recorded. Dave Bartholomew's small Broadmoor label (reuniting with Bartholomew along the way), featured many contemporary Soul infused sides and a few single releases but an album was not released overseas until 1971 to fulfill his Reprise Records contract. He shifted to that label after Broadmoor and had a Top 100 single, a cover of the Beatles' "Lady Madonna".
Domino appeared in the Monkees' television special 33⅓ Revolutions per Monkee in 1969. In 1971, he opened for Ike & Tina Turner at Carnegie Hall. He continued to be popular as a performer for several decades. He made a cameo appearance in Clint Eastwood's movie Any Which Way You Can, filmed in 1979 and released in 1980, singing the country song "Whiskey Heaven", which later became a minor hit. His life and career were showcased in Joe Lauro's 2015 documentary The Big Beat: Fats Domino and the Birth of Rock 'n' Roll.
Later career (1980s–2005)
In 1986, Domino was one of the first musicians to be inducted into the Rock and Roll Hall of Fame. He also received the Grammy Lifetime Achievement Award in 1987. Domino's last album for a major label, Christmas Is a Special Day, was released in 1993.
Domino lived in a mansion in a predominantly working-class neighborhood in the Lower Ninth Ward, where he was a familiar sight in his bright pink Cadillac automobile. He made yearly appearances at the New Orleans Jazz & Heritage Festival and other local events.
His last tour was in Europe, for three weeks in 1995. After being ill while on tour, Domino decided he would no longer leave the New Orleans area, having a comfortable income from royalty payments and a dislike of touring and claiming he could not get any food that he liked anywhere else. In the same year, he received the Rhythm & Blues Foundation's Ray Charles Lifetime Achievement Award.
In 1998, President Bill Clinton awarded him the National Medal of Arts. Domino declined an invitation to perform at the White House.
In 2004, Rolling Stone magazine ranked him number 25 on its list of the "100 Greatest Artists of All Time" in an essay written by Dr. John.
Domino and Hurricane Katrina
As Hurricane Katrina approached New Orleans in August 2005, Domino chose to stay at home with his family, partly because his wife, Rosemary, was in poor health. His house was in an area that was heavily flooded.
Domino was rumored to have died, and his home was vandalized when someone spray-painted the message "RIP Fats. You will be missed". On September 1, the talent agent Al Embry announced that he had not heard from Domino since before the hurricane struck. Later that day, CNN reported that Domino had been rescued by a Coast Guard helicopter. Until then, even family members had not heard from him since before the storm. Embry confirmed that Domino and his family had been rescued. The family was then taken to a shelter in Baton Rouge, after which they were picked up by JaMarcus Russell, the starting quarterback of the Louisiana State University football team, and the boyfriend of Domino's granddaughter. He let the family stay in his apartment. The Washington Post reported that on September 2, they had left Russell's apartment after sleeping three nights on the couch. "We've lost everything," Domino said, according to the Post.
By January 2006, work to gut and repair Domino's home and office had begun (see Reconstruction of New Orleans). In the meantime, the Domino family resided in Harvey, Louisiana.
President George W. Bush made a personal visit and replaced the National Medal of Arts that President Bill Clinton had previously awarded Domino. The gold records were replaced by the RIAA and Capitol Records, which owned the Imperial Records catalogue.
Later life
Domino was scheduled to perform at the 2006 Jazz & Heritage Festival in New Orleans. However, he was suffering from anxiety and was forced to cancel the performance, but he did appear to offer the audience an on-stage greeting.
In 2006 Domino's album Alive and Kickin' was released to benefit the Tipitina's Foundation, which supports indigent local musicians and helps preserve the New Orleans sound. The album consists of unreleased recordings from the 1990s and received great critical acclaim.
On January 12, 2007, Domino was honored with OffBeat magazine's Lifetime Achievement Award at the annual Best of the Beat Awards, held at the House of Blues in New Orleans. New Orleans Mayor Ray Nagin declared the day "Fats Domino Day in New Orleans" and presented him with a signed declaration. Domino returned to stage on May 19, 2007, at Tipitina's at New Orleans, performing to a full house. This was his last public performance. The concert was recorded for a 2008 TV presentation entitled Fats Domino: Walkin' Back to New Orleans. This was a fund-raising concert, featuring a number of artists. Domino donated his fee to the cause. Later that year, a Vanguard record was released, Goin' Home: A Tribute to Fats Domino featuring his songs as recorded by Elton John, Neil Young, Tom Petty, Robert Plant, Willie Nelson, Norah Jones, Lenny Kravitz, and Lucinda Williams. A portion of the proceeds was to be used by the Foundation to help restore Domino's publishing office which had been damaged by the hurricane.
In September 2007, Domino was inducted into the Louisiana Music Hall of Fame.
In May 2009, Domino made an unexpected appearance in the audience for the Domino Effect, a concert featuring Little Richard and other artists, aimed at raising funds to help rebuild schools and playgrounds damaged by Hurricane Katrina.
In October 2012, Domino was featured in season three of the television series Treme, playing himself. On August 21, 2016, Domino was inducted into the National Rhythm and Blues Hall of Fame. The ceremony was held in Detroit, Michigan. The other inductees were Dionne Warwick, Cathy Hughes, Smokey Robinson, Prince, and the Supremes. He had received the Rhythm & Blues Foundation's Ray Charles Lifetime Achievement Award in 1995. His song "The Fat Man" entered the Grammy Hall of Fame in 2015.
Death
Domino died on October 24, 2017, at his home in Harvey, Louisiana, at the age of 89, from natural causes, according to the coroner's office.
Influence and legacy
Domino was one of the biggest stars of rock and roll in the 1950s, but he was not convinced that this was a new genre. In 1957, Domino said: "What they call rock 'n' roll now is rhythm and blues. I've been playing it for 15 years in New Orleans". According to Rolling Stone, "this is a valid statement ... all Fifties rockers, black and white, country born and city bred, were fundamentally influenced by R&B, the black popular music of the late Forties and early Fifties".
He was among the first R&B artists to gain popularity with white audiences. His biographer Rick Coleman argues that Domino's records and tours with rock-and-roll shows in that decade, bringing together black and white youths in a shared appreciation of his music, was a factor in the breakdown of racial segregation in the United States. The artist himself did not define his work as rock and roll, saying, "It wasn't anything but the same rhythm and blues I'd been playin' down in New Orleans."
Both John Lennon and Paul McCartney recorded Domino songs. According to some reports, McCartney wrote the Beatles song "Lady Madonna" in emulation of Domino's style, combining it with a nod to Humphrey Lyttelton's 1956 hit "Bad Penny Blues". Domino also recorded the song in 1968. Domino returned to the "Hot 100" chart for the last time in 1968, with his recording of "Lady Madonna". That recording, as well as covers of two other songs by the Beatles, appeared on his Reprise album Fats Is Back, produced by Richard Perry and with several hits recorded by a band that included the New Orleans pianist James Booker.
Domino was present in the audience of 2,200 people at Elvis Presley's first concert at the Las Vegas Hilton on July 31, 1969. At a press conference after the show, when a journalist referred to Presley as "The King", Presley gestured toward Domino, who was taking in the scene. "No," Presley said, "that's the real king of rock and roll." Presley made a subsequent comment, "rock 'n' roll was here a long time before I came along. Let's face it: I can't sing like Fats Domino can. I know that" and added that Domino was "a huge influence on me when I started out".
About a photograph made of him and Elvis together, Domino said: "Elvis told me he flopped the first time he came to Las Vegas. I loved his music. He could sing anything ... I'm glad we took this picture." (Fats Domino (2002). "Music Pioneer Fats Domino Talks About Elvis." Retrieved from "USA Today." December 10, 2002.)
Domino received a Grammy Lifetime Achievement Award in 1987.
John Lennon covered Domino's composition "Ain't That a Shame" on his 1975 album "Rock 'n' Roll," his tribute to the musicians who had influenced him.
American band Cheap Trick recorded "Ain't That a Shame" on their 1978 live album Cheap Trick at Budokan and released it as the second single from the album. It reached 35 of the Billboard Hot 100. Reportedly, this was Domino's favorite cover. It remains a staple of their live performances, including at their 25th Anniversary concert (which was recorded as the album and DVD Silver) and at their induction into the Rock and Roll Hall of Fame in 2016.
The Jamaican reggae artist Yellowman covered many songs by Domino, including "Be My Guest" and "Blueberry Hill."
Jah Wobble, a post-punk bassist best known for his work with Johnny Rotten, released a solo recording of "Blueberry Hill".
The Jamaican ska band Justin Hinds and the Dominoes, formed in the 1960s, was named after Domino, Hinds's favorite singer.
In 2007, various artists came together for a tribute to Domino, recording a live session containing only his songs. Musicians performing on the album, Goin' Home: A Tribute to Fats Domino, included Paul McCartney, Norah Jones, Willie Nelson, Neil Young, and Elton John.
According to Richie Unterberger, writing for AllMusic, Domino was one of the most consistent artists of early rock music, the best-selling African-American rock-and-roll star of the 1950s, and the most popular singer of the "classic" New Orleans rhythm and blues style. His million-selling debut single, "The Fat Man" (1949), is one of many that have been cited as the first rock and roll record. Robert Christgau wrote that Domino was "the most widely liked rock and roller of the '50s" and remarked on his influence:
Domino's rhythm, accentuating the offbeat, as in the song "Be My Guest", was an influence on ska music.
Personal life
Domino was married to Rosemary Domino ( Hall) from 1947 until her death in 2008; the couple had eight children: Antoine III (1950-2015), Anatole, Andre (1952-1997), Antonio, Antoinette, Andrea, Anola, and Adonica.
Even after his success he continued to live in his old neighborhood, the Lower Ninth Ward, until after Hurricane Katrina, when he moved to a suburb of New Orleans.
Discography
Fats Domino discography
List of songs recorded by Fats Domino
Studio albums
References
External links
Fats Domino at history-of-rock.com
Fats Domino: Walking to New Orleans special
1928 births
2017 deaths
African-American pianists
African-American rock musicians
American baritones
American blues pianists
American male pianists
American rock pianists
American rhythm and blues singers
American rock singers
Boogie-woogie pianists
Grammy Lifetime Achievement Award winners
Imperial Records artists
Louisiana Creole people
Rhythm and blues musicians from New Orleans
Rock and roll musicians
Songwriters from Louisiana
Stride pianists
United States National Medal of Arts recipients
Singers from Louisiana
People from Harvey, Louisiana
ABC Records artists
London Records artists
Mercury Records artists
Reprise Records artists
Warner Records artists
Male jazz musicians
African-American male singer-songwriters
African-American Catholics
20th-century African-American male singers
Singer-songwriters from Louisiana
| true |
[
"Domino is a former settlement on the Island of Ponds in Labrador. Domino is located on the east side of a cove named Salmon Bight. What remains of the community has been absorbed into the neighbouring settlement of Black Tickle, located on the west side of the cove. The area is sometimes still referred to as Black Tickle–Domino.\n\nReferences\n\nGhost towns in Newfoundland and Labrador",
"A domino effect or chain reaction is the cumulative effect produced when one event sets off a chain of similar events. This term is best known as a mechanical effect and is used as an analogy to a falling row of dominoes. It typically refers to a linked sequence of events where the time between successive events is relatively small. It can be used literally (an observed series of actual collisions) or metaphorically (causal linkages within systems such as global finance or politics). The term domino effect is used both to imply that an event is inevitable or highly likely (as it has already started to happen), and conversely to imply that an event is impossible or highly unlikely (the one domino left standing).\n\nDemonstration of the effect \nThe domino effect can easily be visualized by placing a row of dominoes upright, each separated by a small distance. Upon pushing the first domino, the next domino in line will be knocked over, and so on, thus firing a linear chain in which each domino's fall is triggered by the domino immediately preceding it. The effect is the same regardless of the length of the chain. The energy used in this chain reaction is the potential energy of the dominoes due to them being in a meta-stable state; when the first domino is toppled, the energy transferred by the fall is greater than the energy needed to knock over the following domino, and so on.\n\nThe domino effect is exploited in Rube Goldberg machines.\n\nAppearances in media\nDomino Day – world record attempt for the highest number of toppling domino stones.\n\nSee also\n\nDomino effect accident\nRipple effect\nRube Goldberg machine\nAblation cascade\n\nRelevant physical theory:\nButterfly effect\nCascading failure\nCausality\nChain reaction\nSnowball effect\n\nMathematical theory\nMathematical induction\n\nPolitical theory\nDomino theory\n\nSocial\nChinese whispers\nBehavioral contagion\nCopycat crime\n\nReferences\n\nFurther reading\nImpact Mechanics, W. J. Stronge, Cambridge University Press, 2004, , \n\nMetaphors referring to objects\nCausality"
] |
[
"Fats Domino",
"Domino and Hurricane Katrina",
"What is domino?",
"President George W. Bush made a personal visit and replaced the National Medal of Arts that President Bill Clinton had previously awarded Domino."
] |
C_59e99b9b46e44d24a78bee0859d4058a_0
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why did he replace it?
| 2 |
why did President George W. Bush replace the National Medal of Arts that President Bill Clinton had previously awarded Fats Domino?
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Fats Domino
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As Hurricane Katrina approached New Orleans in August 2005, Domino chose to stay at home with his family, partly because his wife, Rosemary, was in poor health. His house was in an area that was heavily flooded. Domino was rumored to have died, and his home was vandalized when someone spray-painted the message "RIP Fats. You will be missed". On September 1, the talent agent Al Embry announced that he had not heard from Domino since before the hurricane struck. Later that day, CNN reported that Domino had been rescued by a Coast Guard helicopter. Until then, even family members had not heard from him since before the storm. Embry confirmed that Domino and his family had been rescued. The family was then taken to a shelter in Baton Rouge, after which they were picked up by JaMarcus Russell, the starting quarterback of the Louisiana State University football team, and the boyfriend of Domino's granddaughter. He let the family stay in his apartment. The Washington Post reported that on September 2, they had left Russell's apartment after sleeping three nights on the couch. "We've lost everything," Domino said, according to the Post. By January 2006, work to gut and repair Domino's home and office had begun (see Reconstruction of New Orleans). In the meantime, the Domino family resided in Harvey, Louisiana. President George W. Bush made a personal visit and replaced the National Medal of Arts that President Bill Clinton had previously awarded Domino. The gold records were replaced by the RIAA and Capitol Records, which owned the Imperial Records catalogue. CANNOTANSWER
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As Hurricane Katrina approached New Orleans in August 2005, Domino chose to stay at home with his family, partly because his wife, Rosemary, was in poor health.
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Antoine Dominique Domino Jr. (February 26, 1928 – October 24, 2017), known as Fats Domino, was an American pianist and singer-songwriter. One of the pioneers of rock and roll music, Domino sold more than 65 million records. Born in New Orleans to a French Creole family, Domino signed to Imperial Records in 1949. His first single "The Fat Man" is cited by some historians as the first rock and roll single and the first to sell more than 1 million copies. Domino continued to work with the song's co-writer Dave Bartholomew, contributing his distinctive rolling piano style to Lloyd Price's "Lawdy Miss Clawdy" (1952) and scoring a string of mainstream hits beginning with "Ain't That a Shame" (1955). Between 1955 and 1960, he had eleven Top 10 US pop hits. By 1955, five of his records had sold more than a million copies, being certified gold.
Domino was shy and modest by nature but made a significant contribution to the rock and roll genre. Elvis Presley declared Domino a "huge influence on me when I started out" and described him as "the real king of rock 'n' roll". The artist himself did not define his work as rock and roll, saying of the genre "It wasn't anything but the same rhythm and blues I'd been playing down in New Orleans". Four of Domino's records were named to the Grammy Hall of Fame for their significance: "Blueberry Hill", "Ain't That A Shame", "Walking to New Orleans" and "The Fat Man". He was inducted into the Rock and Roll Hall of Fame as part of its first group of inductees in 1986. The Associated Press estimates that during his career, Domino "sold more than 110 million records".
Biography
Early life and education
Antoine Domino Jr. was born and raised in New Orleans, Louisiana, the youngest of eight children born to Antoine Caliste Domino (1879–1964) and Marie-Donatille Gros (1886–1971). The Domino family was of French Creole background, and Louisiana Creole was his first language. Like most such families, the Dominos were Catholic.
Antoine was born at home with the assistance of his grandmother, a midwife. His name was initially misspelled as Anthony on his birth certificate. His family had recently arrived in the Lower Ninth Ward from Vacherie, Louisiana. His father was a part-time violin player who worked at a racetrack.
He attended the Louis B. Macarty School, leaving to start work as a helper to an ice delivery man. Domino learned to play the piano in about 1938 from his brother-in-law, the jazz guitarist Harrison Verrett.
Early career (1940s)
By age 14, Domino was performing in New Orleans bars. In 1947, Billy Diamond, a New Orleans bandleader, accepted an invitation to hear the young pianist perform at a backyard barbecue. Domino played well enough that Diamond asked him to join his band, the Solid Senders, at the Hideaway Club in New Orleans, where he would earn $3 a week playing the piano. Diamond nicknamed him "Fats", because Domino reminded him of the renowned pianists Fats Waller and Fats Pichon, but also because of his large appetite.
Recordings for Imperial Records (1949–1962)
Domino was signed to the Imperial Records label in 1949 by owner Lew Chudd, to be paid royalties based on sales instead of a fee for each song. He and producer Dave Bartholomew wrote "The Fat Man", a toned down version of a song about drug addicts called "Junker Blues"; the record had sold a million copies by 1951. Featuring a rolling piano and Domino vocalizing "wah-wah" over a strong backbeat, "The Fat Man" is widely considered the first rock-and-roll record to achieve this level of sales. In 2015, the song would enter the Grammy Hall of Fame.
Domino released a series of hit songs with Bartholomew (also the co-writer of many of the songs), the saxophonists Herbert Hardesty and Alvin "Red" Tyler, the bassist Billy Diamond and later Frank Fields, and the drummers Earl Palmer and Smokey Johnson. Other notable and long-standing musicians in Domino's band were the saxophonists Reggie Houston, Lee Allen, and Fred Kemp, Domino's trusted bandleader.
While Domino's own recordings were done for Imperial, he sometimes sat in during that time as a session musician on recordings by other artists for other record labels. Domino's rolling piano triplets provided the memorable instrumental introduction for Lloyd Price's first hit, "Lawdy Miss Clawdy", recorded for Specialty Records on March 13, 1952, at Cosimo Matassa's J&M Studios in New Orleans (where Domino himself had earlier recorded "The Fat Man" and other songs). Dave Bartholomew was producing Price's record, which also featured familiar Domino collaborators Hardesty, Fields and Palmer as sidemen, and he asked Domino to play the piano part, replacing the original session pianist.
Domino crossed into the pop mainstream with "Ain't That a Shame" (mislabeled as "Ain't It a Shame") which reached the Top Ten. This was the first of his records to appear on the Billboard pop singles chart (on July 16, 1955), with the debut at number 14. A milder cover version by Pat Boone reached number 1, having received wider radio airplay in an era of racial segregation. In 1955, Domino was said to be earning $10,000 a week while touring, according to a report in the memoir of artist Chuck Berry. Domino eventually had 37 Top 40 singles, but none made it to number 1 on the Pop chart.
Domino's debut album contained several of his recent hits and earlier blues tracks that had not been released as singles, and was issued on the Imperial label (catalogue number 9009) in November 1955, and was reissued as Rock and Rollin' with Fats Domino. The reissue reached number 17 on the Billboard Pop Albums chart.
His 1956 recording of "Blueberry Hill", a 1940 song by Vincent Rose, Al Lewis and Larry Stock (which had previously been recorded by Gene Autry, Louis Armstrong and others), reached number 2 on the Billboard Juke Box chart for two weeks and was number 1 on the R&B chart for 11 weeks. It was his biggest hit, selling more than 5 million copies worldwide in 1956 and 1957. The song was subsequently recorded by Elvis Presley, Little Richard, and Led Zeppelin. Some 32 years later, the song would enter the
Grammy Hall of Fame.
Domino had further hit singles between 1956 and 1959, including "When My Dreamboat Comes Home" (Pop number 14), "I'm Walkin'" (Pop number 4), "Valley of Tears" (Pop number 8), "It's You I Love" (Pop number 6), "Whole Lotta Lovin'" (Pop number 6), "I Want to Walk You Home" (Pop number 8), and "Be My Guest" (Pop number 8). In 1957, Domino maintained "What they call rock 'n' roll now is rhythm and blues. I've been playing it for 15 years in New Orleans".
Domino appeared in two films released in 1956: Shake, Rattle & Rock! and The Girl Can't Help It. On December 18, 1957, his hit recording of "The Big Beat" was featured on Dick Clark's American Bandstand.
He was also featured in a movie of the same name.
On November 2, 1956, a riot broke out at a Domino concert in Fayetteville, North Carolina. The police used tear gas to break up the unruly crowd. Domino jumped out a window to avoid the melee; he and two members of his band were slightly injured. During his career, four major riots occurred at his concerts, "partly because of integration", according to his biographer Rick Coleman. "But also the fact they had alcohol at these shows. So they were mixing alcohol, plus dancing, plus the races together for the first time in a lot of these places." In November 1957, Domino appeared on The Ed Sullivan Show; no disturbance accompanied this performance.
In the same year, the article "King of Rock 'n' Roll" in Ebony magazine featured Domino who said he was on the road 340 days a year, up to $2,500 per evening, and grossing over $500,000; Domino also told readers that he owned 50 suits, 100 pairs of shoes and a $1,500 diamond horseshoe stick pin.
Domino had a steady series of hits for Imperial through early 1962, including "Walking to New Orleans" (1960, Pop number 6), co-written by Bobby Charles, and "My Girl Josephine" (Pop number 14) in the same year. He toured Europe in 1962 and met the Beatles who would later cite Domino as an inspiration. After returning, he played the first of his many stands in Las Vegas.
Imperial Records was sold in early 1963, and Domino left the label. "I stuck with them until they sold out," he said in 1979. In all, he recorded over 60 singles for Imperial, placing 40 songs in the top 10 on the R&B chart and 11 in the top 10 on the Pop chart, twenty-seven of which were double-sided hits.
Recordings after leaving Imperial (1963–1970s)
Domino moved to ABC-Paramount Records in 1963. The label dictated that he record in Nashville, Tennessee, rather than New Orleans. He was assigned a new producer (Felton Jarvis) and a new arranger (Bill Justis). Domino's long-term collaboration with the producer, arranger, and frequent co-writer Dave Bartholomew, who oversaw virtually all of his Imperial hits, was seemingly at an end. Jarvis and Justis changed the Domino sound somewhat, notably by adding the backing of a countrypolitan-style vocal chorus to most of his new recordings. He released 11 singles for ABC-Paramount, several which hit the Top 100 but just once entering the Top 40 ("Red Sails in the Sunset", 1963). By the end of 1964 the British Invasion had changed the tastes of the record-buying public, and Domino's chart run was over.
Despite the lack of chart success, Domino continued to record steadily until about 1970, leaving ABC-Paramount in mid-1965 and recording for Mercury Records, where he delivered a live album and two singles. A studio album was planned but stalled with just four tracks recorded. Dave Bartholomew's small Broadmoor label (reuniting with Bartholomew along the way), featured many contemporary Soul infused sides and a few single releases but an album was not released overseas until 1971 to fulfill his Reprise Records contract. He shifted to that label after Broadmoor and had a Top 100 single, a cover of the Beatles' "Lady Madonna".
Domino appeared in the Monkees' television special 33⅓ Revolutions per Monkee in 1969. In 1971, he opened for Ike & Tina Turner at Carnegie Hall. He continued to be popular as a performer for several decades. He made a cameo appearance in Clint Eastwood's movie Any Which Way You Can, filmed in 1979 and released in 1980, singing the country song "Whiskey Heaven", which later became a minor hit. His life and career were showcased in Joe Lauro's 2015 documentary The Big Beat: Fats Domino and the Birth of Rock 'n' Roll.
Later career (1980s–2005)
In 1986, Domino was one of the first musicians to be inducted into the Rock and Roll Hall of Fame. He also received the Grammy Lifetime Achievement Award in 1987. Domino's last album for a major label, Christmas Is a Special Day, was released in 1993.
Domino lived in a mansion in a predominantly working-class neighborhood in the Lower Ninth Ward, where he was a familiar sight in his bright pink Cadillac automobile. He made yearly appearances at the New Orleans Jazz & Heritage Festival and other local events.
His last tour was in Europe, for three weeks in 1995. After being ill while on tour, Domino decided he would no longer leave the New Orleans area, having a comfortable income from royalty payments and a dislike of touring and claiming he could not get any food that he liked anywhere else. In the same year, he received the Rhythm & Blues Foundation's Ray Charles Lifetime Achievement Award.
In 1998, President Bill Clinton awarded him the National Medal of Arts. Domino declined an invitation to perform at the White House.
In 2004, Rolling Stone magazine ranked him number 25 on its list of the "100 Greatest Artists of All Time" in an essay written by Dr. John.
Domino and Hurricane Katrina
As Hurricane Katrina approached New Orleans in August 2005, Domino chose to stay at home with his family, partly because his wife, Rosemary, was in poor health. His house was in an area that was heavily flooded.
Domino was rumored to have died, and his home was vandalized when someone spray-painted the message "RIP Fats. You will be missed". On September 1, the talent agent Al Embry announced that he had not heard from Domino since before the hurricane struck. Later that day, CNN reported that Domino had been rescued by a Coast Guard helicopter. Until then, even family members had not heard from him since before the storm. Embry confirmed that Domino and his family had been rescued. The family was then taken to a shelter in Baton Rouge, after which they were picked up by JaMarcus Russell, the starting quarterback of the Louisiana State University football team, and the boyfriend of Domino's granddaughter. He let the family stay in his apartment. The Washington Post reported that on September 2, they had left Russell's apartment after sleeping three nights on the couch. "We've lost everything," Domino said, according to the Post.
By January 2006, work to gut and repair Domino's home and office had begun (see Reconstruction of New Orleans). In the meantime, the Domino family resided in Harvey, Louisiana.
President George W. Bush made a personal visit and replaced the National Medal of Arts that President Bill Clinton had previously awarded Domino. The gold records were replaced by the RIAA and Capitol Records, which owned the Imperial Records catalogue.
Later life
Domino was scheduled to perform at the 2006 Jazz & Heritage Festival in New Orleans. However, he was suffering from anxiety and was forced to cancel the performance, but he did appear to offer the audience an on-stage greeting.
In 2006 Domino's album Alive and Kickin' was released to benefit the Tipitina's Foundation, which supports indigent local musicians and helps preserve the New Orleans sound. The album consists of unreleased recordings from the 1990s and received great critical acclaim.
On January 12, 2007, Domino was honored with OffBeat magazine's Lifetime Achievement Award at the annual Best of the Beat Awards, held at the House of Blues in New Orleans. New Orleans Mayor Ray Nagin declared the day "Fats Domino Day in New Orleans" and presented him with a signed declaration. Domino returned to stage on May 19, 2007, at Tipitina's at New Orleans, performing to a full house. This was his last public performance. The concert was recorded for a 2008 TV presentation entitled Fats Domino: Walkin' Back to New Orleans. This was a fund-raising concert, featuring a number of artists. Domino donated his fee to the cause. Later that year, a Vanguard record was released, Goin' Home: A Tribute to Fats Domino featuring his songs as recorded by Elton John, Neil Young, Tom Petty, Robert Plant, Willie Nelson, Norah Jones, Lenny Kravitz, and Lucinda Williams. A portion of the proceeds was to be used by the Foundation to help restore Domino's publishing office which had been damaged by the hurricane.
In September 2007, Domino was inducted into the Louisiana Music Hall of Fame.
In May 2009, Domino made an unexpected appearance in the audience for the Domino Effect, a concert featuring Little Richard and other artists, aimed at raising funds to help rebuild schools and playgrounds damaged by Hurricane Katrina.
In October 2012, Domino was featured in season three of the television series Treme, playing himself. On August 21, 2016, Domino was inducted into the National Rhythm and Blues Hall of Fame. The ceremony was held in Detroit, Michigan. The other inductees were Dionne Warwick, Cathy Hughes, Smokey Robinson, Prince, and the Supremes. He had received the Rhythm & Blues Foundation's Ray Charles Lifetime Achievement Award in 1995. His song "The Fat Man" entered the Grammy Hall of Fame in 2015.
Death
Domino died on October 24, 2017, at his home in Harvey, Louisiana, at the age of 89, from natural causes, according to the coroner's office.
Influence and legacy
Domino was one of the biggest stars of rock and roll in the 1950s, but he was not convinced that this was a new genre. In 1957, Domino said: "What they call rock 'n' roll now is rhythm and blues. I've been playing it for 15 years in New Orleans". According to Rolling Stone, "this is a valid statement ... all Fifties rockers, black and white, country born and city bred, were fundamentally influenced by R&B, the black popular music of the late Forties and early Fifties".
He was among the first R&B artists to gain popularity with white audiences. His biographer Rick Coleman argues that Domino's records and tours with rock-and-roll shows in that decade, bringing together black and white youths in a shared appreciation of his music, was a factor in the breakdown of racial segregation in the United States. The artist himself did not define his work as rock and roll, saying, "It wasn't anything but the same rhythm and blues I'd been playin' down in New Orleans."
Both John Lennon and Paul McCartney recorded Domino songs. According to some reports, McCartney wrote the Beatles song "Lady Madonna" in emulation of Domino's style, combining it with a nod to Humphrey Lyttelton's 1956 hit "Bad Penny Blues". Domino also recorded the song in 1968. Domino returned to the "Hot 100" chart for the last time in 1968, with his recording of "Lady Madonna". That recording, as well as covers of two other songs by the Beatles, appeared on his Reprise album Fats Is Back, produced by Richard Perry and with several hits recorded by a band that included the New Orleans pianist James Booker.
Domino was present in the audience of 2,200 people at Elvis Presley's first concert at the Las Vegas Hilton on July 31, 1969. At a press conference after the show, when a journalist referred to Presley as "The King", Presley gestured toward Domino, who was taking in the scene. "No," Presley said, "that's the real king of rock and roll." Presley made a subsequent comment, "rock 'n' roll was here a long time before I came along. Let's face it: I can't sing like Fats Domino can. I know that" and added that Domino was "a huge influence on me when I started out".
About a photograph made of him and Elvis together, Domino said: "Elvis told me he flopped the first time he came to Las Vegas. I loved his music. He could sing anything ... I'm glad we took this picture." (Fats Domino (2002). "Music Pioneer Fats Domino Talks About Elvis." Retrieved from "USA Today." December 10, 2002.)
Domino received a Grammy Lifetime Achievement Award in 1987.
John Lennon covered Domino's composition "Ain't That a Shame" on his 1975 album "Rock 'n' Roll," his tribute to the musicians who had influenced him.
American band Cheap Trick recorded "Ain't That a Shame" on their 1978 live album Cheap Trick at Budokan and released it as the second single from the album. It reached 35 of the Billboard Hot 100. Reportedly, this was Domino's favorite cover. It remains a staple of their live performances, including at their 25th Anniversary concert (which was recorded as the album and DVD Silver) and at their induction into the Rock and Roll Hall of Fame in 2016.
The Jamaican reggae artist Yellowman covered many songs by Domino, including "Be My Guest" and "Blueberry Hill."
Jah Wobble, a post-punk bassist best known for his work with Johnny Rotten, released a solo recording of "Blueberry Hill".
The Jamaican ska band Justin Hinds and the Dominoes, formed in the 1960s, was named after Domino, Hinds's favorite singer.
In 2007, various artists came together for a tribute to Domino, recording a live session containing only his songs. Musicians performing on the album, Goin' Home: A Tribute to Fats Domino, included Paul McCartney, Norah Jones, Willie Nelson, Neil Young, and Elton John.
According to Richie Unterberger, writing for AllMusic, Domino was one of the most consistent artists of early rock music, the best-selling African-American rock-and-roll star of the 1950s, and the most popular singer of the "classic" New Orleans rhythm and blues style. His million-selling debut single, "The Fat Man" (1949), is one of many that have been cited as the first rock and roll record. Robert Christgau wrote that Domino was "the most widely liked rock and roller of the '50s" and remarked on his influence:
Domino's rhythm, accentuating the offbeat, as in the song "Be My Guest", was an influence on ska music.
Personal life
Domino was married to Rosemary Domino ( Hall) from 1947 until her death in 2008; the couple had eight children: Antoine III (1950-2015), Anatole, Andre (1952-1997), Antonio, Antoinette, Andrea, Anola, and Adonica.
Even after his success he continued to live in his old neighborhood, the Lower Ninth Ward, until after Hurricane Katrina, when he moved to a suburb of New Orleans.
Discography
Fats Domino discography
List of songs recorded by Fats Domino
Studio albums
References
External links
Fats Domino at history-of-rock.com
Fats Domino: Walking to New Orleans special
1928 births
2017 deaths
African-American pianists
African-American rock musicians
American baritones
American blues pianists
American male pianists
American rock pianists
American rhythm and blues singers
American rock singers
Boogie-woogie pianists
Grammy Lifetime Achievement Award winners
Imperial Records artists
Louisiana Creole people
Rhythm and blues musicians from New Orleans
Rock and roll musicians
Songwriters from Louisiana
Stride pianists
United States National Medal of Arts recipients
Singers from Louisiana
People from Harvey, Louisiana
ABC Records artists
London Records artists
Mercury Records artists
Reprise Records artists
Warner Records artists
Male jazz musicians
African-American male singer-songwriters
African-American Catholics
20th-century African-American male singers
Singer-songwriters from Louisiana
| true |
[
"\"Why did the chicken cross the road?\" is a common riddle joke, with the answer being \"To get to the other side\". It is commonly seen as an example of anti-humor, in that the curious setup of the joke leads the listener to expect a traditional punchline, but they are instead given a simple statement of fact. Some also see the phrase \"other side\" as the afterlife, suggesting that it is not anti-humor. \"Why did the chicken cross the road?\" has become iconic as an exemplary generic joke to which most people know the answer, and has been repeated and changed numerous times over the course of history.\n\nHistory \n\nThe riddle appeared in an 1847 edition of The Knickerbocker, a New York City monthly magazine:\n\nThere are 'quips and quillets' which seem actual conundrums, but yet are none. Of such is this: 'Why does a chicken cross the street?['] Are you 'out of town?' Do you 'give it up?' Well, then: 'Because it wants to get on the other side!'\n\nAccording to music critic Gary Giddins in the Ken Burns documentary Jazz, the joke was spread through the United States, to large cities and small towns, by minstrel shows beginning in the 1840s as one of the first national jokes, which endures as a part of American culture to this day. \n\nIn the 1890s, a pun variant version appeared in the magazine Potter's American Monthly:\nWhy should not a chicken cross the road?\nIt would be a fowl proceeding.\n\nVariations \n\nThere are many riddles that assume a familiarity with this well-known riddle and its answer. For example, an alternate punchline can be used for the riddle, such as \"it was too far to walk around\". One class of variations enlists a creature other than the chicken to cross the road, in order to refer back to the original riddle. For example, a duck (or turkey) crosses \"because it was the chicken's day off,\" and a dinosaur crosses \"because chickens didn't exist yet.\" Some variants are both puns and references to the original, such as \"Why did the duck cross the road?\" \"To prove he's no chicken\".\n\nOther variations replace side with another word often to form a pun. Some examples are:\n 'Why did the chicken cross the road? To get to the idiot's house'. Knock knock',\n\n 'Who's there?' \n\n 'The chicken'\n\n\"Why did the chicken cross the playground? To get to the other slide\"\n\n\"Why did the chewing gum cross the road? It was stuck to the chicken's foot\"\n\n\"Why did the whale cross the ocean? To get to the other tide.\"\n\nA mathematical version asks, \"Why did the chicken cross the Möbius strip?\" \"To get to the same side.\"\n\nAs with the lightbulb joke, variants on these themes are widespread.\n\nReferences\n\nFurther reading \n Archived at Ghostarchive and the Wayback Machine: \n\nJoke cycles\nChickens\n1840s neologisms\nQuotations from literature\nRiddles\nWorks originally published in The Knickerbocker",
"\"Llangollen Market\" is a song from early 19th century Wales. It is known to have been performed at an eisteddfod at Llangollen in 1858.\n\nThe text of the song survives in a manuscript held by the National Museum of Wales, which came into the possession of singer Mary Davies, a co-founder of the Welsh Folk-Song Society.\n\nThe song tells the tale of a young man from the Llangollen area going off to war and leaving behind his broken-hearted girlfriend. Originally written in English, the song has been translated into Welsh and recorded by several artists such as Siân James, Siobhan Owen, Calennig and Siwsann George.\n\nLyrics\nIt’s far beyond the mountains that look so distant here,\nTo fight his country’s battles, last Mayday went my dear;\nAh, well shall I remember with bitter sighs the day,\nWhy, Owen, did you leave me? At home why did I stay?\n\nAh, cruel was my father that did my flight restrain,\nAnd I was cruel-hearted that did at home remain,\nWith you, my love, contented, I’d journey far away;\nWhy, Owen, did you leave me? At home why did I stay?\n\nWhile thinking of my Owen, my eyes with tears do fill,\nAnd then my mother chides me because my wheel stands still,\nBut how can I think of spinning when my Owen’s far away;\nWhy, Owen, did you leave me? At home why did I stay?\n\nTo market at Llangollen each morning do I go,\nBut how to strike a bargain no longer do I know;\nMy father chides at evening, my mother all the day;\nWhy, Owen, did you leave me, at home why did I stay?\n\nOh, would it please kind heaven to shield my love from harm,\nTo clasp him to my bosom would every care disarm,\nBut alas, I fear, 'tis distant - that happy, happy day;\nWhy, Owen, did you leave me, at home why did stay?\n\nReferences\n\nWelsh folk songs"
] |
[
"Fats Domino",
"Domino and Hurricane Katrina",
"What is domino?",
"President George W. Bush made a personal visit and replaced the National Medal of Arts that President Bill Clinton had previously awarded Domino.",
"why did he replace it?",
"As Hurricane Katrina approached New Orleans in August 2005, Domino chose to stay at home with his family, partly because his wife, Rosemary, was in poor health."
] |
C_59e99b9b46e44d24a78bee0859d4058a_0
|
What was the result of this?
| 3 |
What was the result of President George W. Bush making a personal visit and replacing the National Medal of Arts that President Bill Clinton had previously awarded Fats Domino?
|
Fats Domino
|
As Hurricane Katrina approached New Orleans in August 2005, Domino chose to stay at home with his family, partly because his wife, Rosemary, was in poor health. His house was in an area that was heavily flooded. Domino was rumored to have died, and his home was vandalized when someone spray-painted the message "RIP Fats. You will be missed". On September 1, the talent agent Al Embry announced that he had not heard from Domino since before the hurricane struck. Later that day, CNN reported that Domino had been rescued by a Coast Guard helicopter. Until then, even family members had not heard from him since before the storm. Embry confirmed that Domino and his family had been rescued. The family was then taken to a shelter in Baton Rouge, after which they were picked up by JaMarcus Russell, the starting quarterback of the Louisiana State University football team, and the boyfriend of Domino's granddaughter. He let the family stay in his apartment. The Washington Post reported that on September 2, they had left Russell's apartment after sleeping three nights on the couch. "We've lost everything," Domino said, according to the Post. By January 2006, work to gut and repair Domino's home and office had begun (see Reconstruction of New Orleans). In the meantime, the Domino family resided in Harvey, Louisiana. President George W. Bush made a personal visit and replaced the National Medal of Arts that President Bill Clinton had previously awarded Domino. The gold records were replaced by the RIAA and Capitol Records, which owned the Imperial Records catalogue. CANNOTANSWER
|
Domino was rumored to have died, and his home was vandalized when someone spray-painted the message "RIP Fats. You will be missed".
|
Antoine Dominique Domino Jr. (February 26, 1928 – October 24, 2017), known as Fats Domino, was an American pianist and singer-songwriter. One of the pioneers of rock and roll music, Domino sold more than 65 million records. Born in New Orleans to a French Creole family, Domino signed to Imperial Records in 1949. His first single "The Fat Man" is cited by some historians as the first rock and roll single and the first to sell more than 1 million copies. Domino continued to work with the song's co-writer Dave Bartholomew, contributing his distinctive rolling piano style to Lloyd Price's "Lawdy Miss Clawdy" (1952) and scoring a string of mainstream hits beginning with "Ain't That a Shame" (1955). Between 1955 and 1960, he had eleven Top 10 US pop hits. By 1955, five of his records had sold more than a million copies, being certified gold.
Domino was shy and modest by nature but made a significant contribution to the rock and roll genre. Elvis Presley declared Domino a "huge influence on me when I started out" and described him as "the real king of rock 'n' roll". The artist himself did not define his work as rock and roll, saying of the genre "It wasn't anything but the same rhythm and blues I'd been playing down in New Orleans". Four of Domino's records were named to the Grammy Hall of Fame for their significance: "Blueberry Hill", "Ain't That A Shame", "Walking to New Orleans" and "The Fat Man". He was inducted into the Rock and Roll Hall of Fame as part of its first group of inductees in 1986. The Associated Press estimates that during his career, Domino "sold more than 110 million records".
Biography
Early life and education
Antoine Domino Jr. was born and raised in New Orleans, Louisiana, the youngest of eight children born to Antoine Caliste Domino (1879–1964) and Marie-Donatille Gros (1886–1971). The Domino family was of French Creole background, and Louisiana Creole was his first language. Like most such families, the Dominos were Catholic.
Antoine was born at home with the assistance of his grandmother, a midwife. His name was initially misspelled as Anthony on his birth certificate. His family had recently arrived in the Lower Ninth Ward from Vacherie, Louisiana. His father was a part-time violin player who worked at a racetrack.
He attended the Louis B. Macarty School, leaving to start work as a helper to an ice delivery man. Domino learned to play the piano in about 1938 from his brother-in-law, the jazz guitarist Harrison Verrett.
Early career (1940s)
By age 14, Domino was performing in New Orleans bars. In 1947, Billy Diamond, a New Orleans bandleader, accepted an invitation to hear the young pianist perform at a backyard barbecue. Domino played well enough that Diamond asked him to join his band, the Solid Senders, at the Hideaway Club in New Orleans, where he would earn $3 a week playing the piano. Diamond nicknamed him "Fats", because Domino reminded him of the renowned pianists Fats Waller and Fats Pichon, but also because of his large appetite.
Recordings for Imperial Records (1949–1962)
Domino was signed to the Imperial Records label in 1949 by owner Lew Chudd, to be paid royalties based on sales instead of a fee for each song. He and producer Dave Bartholomew wrote "The Fat Man", a toned down version of a song about drug addicts called "Junker Blues"; the record had sold a million copies by 1951. Featuring a rolling piano and Domino vocalizing "wah-wah" over a strong backbeat, "The Fat Man" is widely considered the first rock-and-roll record to achieve this level of sales. In 2015, the song would enter the Grammy Hall of Fame.
Domino released a series of hit songs with Bartholomew (also the co-writer of many of the songs), the saxophonists Herbert Hardesty and Alvin "Red" Tyler, the bassist Billy Diamond and later Frank Fields, and the drummers Earl Palmer and Smokey Johnson. Other notable and long-standing musicians in Domino's band were the saxophonists Reggie Houston, Lee Allen, and Fred Kemp, Domino's trusted bandleader.
While Domino's own recordings were done for Imperial, he sometimes sat in during that time as a session musician on recordings by other artists for other record labels. Domino's rolling piano triplets provided the memorable instrumental introduction for Lloyd Price's first hit, "Lawdy Miss Clawdy", recorded for Specialty Records on March 13, 1952, at Cosimo Matassa's J&M Studios in New Orleans (where Domino himself had earlier recorded "The Fat Man" and other songs). Dave Bartholomew was producing Price's record, which also featured familiar Domino collaborators Hardesty, Fields and Palmer as sidemen, and he asked Domino to play the piano part, replacing the original session pianist.
Domino crossed into the pop mainstream with "Ain't That a Shame" (mislabeled as "Ain't It a Shame") which reached the Top Ten. This was the first of his records to appear on the Billboard pop singles chart (on July 16, 1955), with the debut at number 14. A milder cover version by Pat Boone reached number 1, having received wider radio airplay in an era of racial segregation. In 1955, Domino was said to be earning $10,000 a week while touring, according to a report in the memoir of artist Chuck Berry. Domino eventually had 37 Top 40 singles, but none made it to number 1 on the Pop chart.
Domino's debut album contained several of his recent hits and earlier blues tracks that had not been released as singles, and was issued on the Imperial label (catalogue number 9009) in November 1955, and was reissued as Rock and Rollin' with Fats Domino. The reissue reached number 17 on the Billboard Pop Albums chart.
His 1956 recording of "Blueberry Hill", a 1940 song by Vincent Rose, Al Lewis and Larry Stock (which had previously been recorded by Gene Autry, Louis Armstrong and others), reached number 2 on the Billboard Juke Box chart for two weeks and was number 1 on the R&B chart for 11 weeks. It was his biggest hit, selling more than 5 million copies worldwide in 1956 and 1957. The song was subsequently recorded by Elvis Presley, Little Richard, and Led Zeppelin. Some 32 years later, the song would enter the
Grammy Hall of Fame.
Domino had further hit singles between 1956 and 1959, including "When My Dreamboat Comes Home" (Pop number 14), "I'm Walkin'" (Pop number 4), "Valley of Tears" (Pop number 8), "It's You I Love" (Pop number 6), "Whole Lotta Lovin'" (Pop number 6), "I Want to Walk You Home" (Pop number 8), and "Be My Guest" (Pop number 8). In 1957, Domino maintained "What they call rock 'n' roll now is rhythm and blues. I've been playing it for 15 years in New Orleans".
Domino appeared in two films released in 1956: Shake, Rattle & Rock! and The Girl Can't Help It. On December 18, 1957, his hit recording of "The Big Beat" was featured on Dick Clark's American Bandstand.
He was also featured in a movie of the same name.
On November 2, 1956, a riot broke out at a Domino concert in Fayetteville, North Carolina. The police used tear gas to break up the unruly crowd. Domino jumped out a window to avoid the melee; he and two members of his band were slightly injured. During his career, four major riots occurred at his concerts, "partly because of integration", according to his biographer Rick Coleman. "But also the fact they had alcohol at these shows. So they were mixing alcohol, plus dancing, plus the races together for the first time in a lot of these places." In November 1957, Domino appeared on The Ed Sullivan Show; no disturbance accompanied this performance.
In the same year, the article "King of Rock 'n' Roll" in Ebony magazine featured Domino who said he was on the road 340 days a year, up to $2,500 per evening, and grossing over $500,000; Domino also told readers that he owned 50 suits, 100 pairs of shoes and a $1,500 diamond horseshoe stick pin.
Domino had a steady series of hits for Imperial through early 1962, including "Walking to New Orleans" (1960, Pop number 6), co-written by Bobby Charles, and "My Girl Josephine" (Pop number 14) in the same year. He toured Europe in 1962 and met the Beatles who would later cite Domino as an inspiration. After returning, he played the first of his many stands in Las Vegas.
Imperial Records was sold in early 1963, and Domino left the label. "I stuck with them until they sold out," he said in 1979. In all, he recorded over 60 singles for Imperial, placing 40 songs in the top 10 on the R&B chart and 11 in the top 10 on the Pop chart, twenty-seven of which were double-sided hits.
Recordings after leaving Imperial (1963–1970s)
Domino moved to ABC-Paramount Records in 1963. The label dictated that he record in Nashville, Tennessee, rather than New Orleans. He was assigned a new producer (Felton Jarvis) and a new arranger (Bill Justis). Domino's long-term collaboration with the producer, arranger, and frequent co-writer Dave Bartholomew, who oversaw virtually all of his Imperial hits, was seemingly at an end. Jarvis and Justis changed the Domino sound somewhat, notably by adding the backing of a countrypolitan-style vocal chorus to most of his new recordings. He released 11 singles for ABC-Paramount, several which hit the Top 100 but just once entering the Top 40 ("Red Sails in the Sunset", 1963). By the end of 1964 the British Invasion had changed the tastes of the record-buying public, and Domino's chart run was over.
Despite the lack of chart success, Domino continued to record steadily until about 1970, leaving ABC-Paramount in mid-1965 and recording for Mercury Records, where he delivered a live album and two singles. A studio album was planned but stalled with just four tracks recorded. Dave Bartholomew's small Broadmoor label (reuniting with Bartholomew along the way), featured many contemporary Soul infused sides and a few single releases but an album was not released overseas until 1971 to fulfill his Reprise Records contract. He shifted to that label after Broadmoor and had a Top 100 single, a cover of the Beatles' "Lady Madonna".
Domino appeared in the Monkees' television special 33⅓ Revolutions per Monkee in 1969. In 1971, he opened for Ike & Tina Turner at Carnegie Hall. He continued to be popular as a performer for several decades. He made a cameo appearance in Clint Eastwood's movie Any Which Way You Can, filmed in 1979 and released in 1980, singing the country song "Whiskey Heaven", which later became a minor hit. His life and career were showcased in Joe Lauro's 2015 documentary The Big Beat: Fats Domino and the Birth of Rock 'n' Roll.
Later career (1980s–2005)
In 1986, Domino was one of the first musicians to be inducted into the Rock and Roll Hall of Fame. He also received the Grammy Lifetime Achievement Award in 1987. Domino's last album for a major label, Christmas Is a Special Day, was released in 1993.
Domino lived in a mansion in a predominantly working-class neighborhood in the Lower Ninth Ward, where he was a familiar sight in his bright pink Cadillac automobile. He made yearly appearances at the New Orleans Jazz & Heritage Festival and other local events.
His last tour was in Europe, for three weeks in 1995. After being ill while on tour, Domino decided he would no longer leave the New Orleans area, having a comfortable income from royalty payments and a dislike of touring and claiming he could not get any food that he liked anywhere else. In the same year, he received the Rhythm & Blues Foundation's Ray Charles Lifetime Achievement Award.
In 1998, President Bill Clinton awarded him the National Medal of Arts. Domino declined an invitation to perform at the White House.
In 2004, Rolling Stone magazine ranked him number 25 on its list of the "100 Greatest Artists of All Time" in an essay written by Dr. John.
Domino and Hurricane Katrina
As Hurricane Katrina approached New Orleans in August 2005, Domino chose to stay at home with his family, partly because his wife, Rosemary, was in poor health. His house was in an area that was heavily flooded.
Domino was rumored to have died, and his home was vandalized when someone spray-painted the message "RIP Fats. You will be missed". On September 1, the talent agent Al Embry announced that he had not heard from Domino since before the hurricane struck. Later that day, CNN reported that Domino had been rescued by a Coast Guard helicopter. Until then, even family members had not heard from him since before the storm. Embry confirmed that Domino and his family had been rescued. The family was then taken to a shelter in Baton Rouge, after which they were picked up by JaMarcus Russell, the starting quarterback of the Louisiana State University football team, and the boyfriend of Domino's granddaughter. He let the family stay in his apartment. The Washington Post reported that on September 2, they had left Russell's apartment after sleeping three nights on the couch. "We've lost everything," Domino said, according to the Post.
By January 2006, work to gut and repair Domino's home and office had begun (see Reconstruction of New Orleans). In the meantime, the Domino family resided in Harvey, Louisiana.
President George W. Bush made a personal visit and replaced the National Medal of Arts that President Bill Clinton had previously awarded Domino. The gold records were replaced by the RIAA and Capitol Records, which owned the Imperial Records catalogue.
Later life
Domino was scheduled to perform at the 2006 Jazz & Heritage Festival in New Orleans. However, he was suffering from anxiety and was forced to cancel the performance, but he did appear to offer the audience an on-stage greeting.
In 2006 Domino's album Alive and Kickin' was released to benefit the Tipitina's Foundation, which supports indigent local musicians and helps preserve the New Orleans sound. The album consists of unreleased recordings from the 1990s and received great critical acclaim.
On January 12, 2007, Domino was honored with OffBeat magazine's Lifetime Achievement Award at the annual Best of the Beat Awards, held at the House of Blues in New Orleans. New Orleans Mayor Ray Nagin declared the day "Fats Domino Day in New Orleans" and presented him with a signed declaration. Domino returned to stage on May 19, 2007, at Tipitina's at New Orleans, performing to a full house. This was his last public performance. The concert was recorded for a 2008 TV presentation entitled Fats Domino: Walkin' Back to New Orleans. This was a fund-raising concert, featuring a number of artists. Domino donated his fee to the cause. Later that year, a Vanguard record was released, Goin' Home: A Tribute to Fats Domino featuring his songs as recorded by Elton John, Neil Young, Tom Petty, Robert Plant, Willie Nelson, Norah Jones, Lenny Kravitz, and Lucinda Williams. A portion of the proceeds was to be used by the Foundation to help restore Domino's publishing office which had been damaged by the hurricane.
In September 2007, Domino was inducted into the Louisiana Music Hall of Fame.
In May 2009, Domino made an unexpected appearance in the audience for the Domino Effect, a concert featuring Little Richard and other artists, aimed at raising funds to help rebuild schools and playgrounds damaged by Hurricane Katrina.
In October 2012, Domino was featured in season three of the television series Treme, playing himself. On August 21, 2016, Domino was inducted into the National Rhythm and Blues Hall of Fame. The ceremony was held in Detroit, Michigan. The other inductees were Dionne Warwick, Cathy Hughes, Smokey Robinson, Prince, and the Supremes. He had received the Rhythm & Blues Foundation's Ray Charles Lifetime Achievement Award in 1995. His song "The Fat Man" entered the Grammy Hall of Fame in 2015.
Death
Domino died on October 24, 2017, at his home in Harvey, Louisiana, at the age of 89, from natural causes, according to the coroner's office.
Influence and legacy
Domino was one of the biggest stars of rock and roll in the 1950s, but he was not convinced that this was a new genre. In 1957, Domino said: "What they call rock 'n' roll now is rhythm and blues. I've been playing it for 15 years in New Orleans". According to Rolling Stone, "this is a valid statement ... all Fifties rockers, black and white, country born and city bred, were fundamentally influenced by R&B, the black popular music of the late Forties and early Fifties".
He was among the first R&B artists to gain popularity with white audiences. His biographer Rick Coleman argues that Domino's records and tours with rock-and-roll shows in that decade, bringing together black and white youths in a shared appreciation of his music, was a factor in the breakdown of racial segregation in the United States. The artist himself did not define his work as rock and roll, saying, "It wasn't anything but the same rhythm and blues I'd been playin' down in New Orleans."
Both John Lennon and Paul McCartney recorded Domino songs. According to some reports, McCartney wrote the Beatles song "Lady Madonna" in emulation of Domino's style, combining it with a nod to Humphrey Lyttelton's 1956 hit "Bad Penny Blues". Domino also recorded the song in 1968. Domino returned to the "Hot 100" chart for the last time in 1968, with his recording of "Lady Madonna". That recording, as well as covers of two other songs by the Beatles, appeared on his Reprise album Fats Is Back, produced by Richard Perry and with several hits recorded by a band that included the New Orleans pianist James Booker.
Domino was present in the audience of 2,200 people at Elvis Presley's first concert at the Las Vegas Hilton on July 31, 1969. At a press conference after the show, when a journalist referred to Presley as "The King", Presley gestured toward Domino, who was taking in the scene. "No," Presley said, "that's the real king of rock and roll." Presley made a subsequent comment, "rock 'n' roll was here a long time before I came along. Let's face it: I can't sing like Fats Domino can. I know that" and added that Domino was "a huge influence on me when I started out".
About a photograph made of him and Elvis together, Domino said: "Elvis told me he flopped the first time he came to Las Vegas. I loved his music. He could sing anything ... I'm glad we took this picture." (Fats Domino (2002). "Music Pioneer Fats Domino Talks About Elvis." Retrieved from "USA Today." December 10, 2002.)
Domino received a Grammy Lifetime Achievement Award in 1987.
John Lennon covered Domino's composition "Ain't That a Shame" on his 1975 album "Rock 'n' Roll," his tribute to the musicians who had influenced him.
American band Cheap Trick recorded "Ain't That a Shame" on their 1978 live album Cheap Trick at Budokan and released it as the second single from the album. It reached 35 of the Billboard Hot 100. Reportedly, this was Domino's favorite cover. It remains a staple of their live performances, including at their 25th Anniversary concert (which was recorded as the album and DVD Silver) and at their induction into the Rock and Roll Hall of Fame in 2016.
The Jamaican reggae artist Yellowman covered many songs by Domino, including "Be My Guest" and "Blueberry Hill."
Jah Wobble, a post-punk bassist best known for his work with Johnny Rotten, released a solo recording of "Blueberry Hill".
The Jamaican ska band Justin Hinds and the Dominoes, formed in the 1960s, was named after Domino, Hinds's favorite singer.
In 2007, various artists came together for a tribute to Domino, recording a live session containing only his songs. Musicians performing on the album, Goin' Home: A Tribute to Fats Domino, included Paul McCartney, Norah Jones, Willie Nelson, Neil Young, and Elton John.
According to Richie Unterberger, writing for AllMusic, Domino was one of the most consistent artists of early rock music, the best-selling African-American rock-and-roll star of the 1950s, and the most popular singer of the "classic" New Orleans rhythm and blues style. His million-selling debut single, "The Fat Man" (1949), is one of many that have been cited as the first rock and roll record. Robert Christgau wrote that Domino was "the most widely liked rock and roller of the '50s" and remarked on his influence:
Domino's rhythm, accentuating the offbeat, as in the song "Be My Guest", was an influence on ska music.
Personal life
Domino was married to Rosemary Domino ( Hall) from 1947 until her death in 2008; the couple had eight children: Antoine III (1950-2015), Anatole, Andre (1952-1997), Antonio, Antoinette, Andrea, Anola, and Adonica.
Even after his success he continued to live in his old neighborhood, the Lower Ninth Ward, until after Hurricane Katrina, when he moved to a suburb of New Orleans.
Discography
Fats Domino discography
List of songs recorded by Fats Domino
Studio albums
References
External links
Fats Domino at history-of-rock.com
Fats Domino: Walking to New Orleans special
1928 births
2017 deaths
African-American pianists
African-American rock musicians
American baritones
American blues pianists
American male pianists
American rock pianists
American rhythm and blues singers
American rock singers
Boogie-woogie pianists
Grammy Lifetime Achievement Award winners
Imperial Records artists
Louisiana Creole people
Rhythm and blues musicians from New Orleans
Rock and roll musicians
Songwriters from Louisiana
Stride pianists
United States National Medal of Arts recipients
Singers from Louisiana
People from Harvey, Louisiana
ABC Records artists
London Records artists
Mercury Records artists
Reprise Records artists
Warner Records artists
Male jazz musicians
African-American male singer-songwriters
African-American Catholics
20th-century African-American male singers
Singer-songwriters from Louisiana
| true |
[
"Elections to West Lindsey District Council were held on 3 May 2007. One third of the council was up for election and the Liberal Democrat Party held overall control of the council after what was seen as a straight fight with the Conservative Party.\n\nThe election in Scotter ward was decided by the toss of a coin which the Conservative candidate won.\n\nAfter the election, the composition of the council was:\n Liberal Democrat 20\n Conservative 16\n Independent 1\n\nElection result\n\nOne Independent candidate was unopposed.\n\nWard results\n\nReferences\n\n 2007 West Lindsey election result\n Ward results\n\n2007\n2007 English local elections\n2000s in Lincolnshire",
"The St. Charles Borromeo Cathedral () Also Chillán Cathedral Is a temple of the Catholic Church, home of the Diocese of Chillán located in the center of the city of Chillán, Chile in front of the Plaza de Armas, in the corner of streets Arauco and Libertad. It is also a symbol and icon of the city, as a result of the city's progress after the Chillan earthquake of 1939. It was declared a National Monument in December 2014.\n\nThe first cathedral of the city of Chillán was established in what today is known as Old Chillán, but this one was destroyed after the earthquake that affected the zone in 1835. As a result, the city was devastated and was transferred and reconstructed in Its current location. The cathedral at that time was made of lime and brick.\n\nAfter the Chillán earthquake of 1939, the cathedral was completely destroyed again, beginning that same year the reconstructions that culminated in 1950. In this new reconstruction, the architect Hernán Larraín Errázuriz was based on ideas of modernism. The figure of the 10 arches represent the prayer and the sign that is made with the hands at the moment of praying intercalando the fingers of the hands and closing them of oval form.\n\nSee also\nRoman Catholicism in Chile\nSt. Charles Borromeo\n\nReferences\n\nRoman Catholic cathedrals in Chile\nRoman Catholic churches completed in 1950\nDiguillín Province\n20th-century Roman Catholic church buildings in Chile\nModernist architecture in Chile\nRebuilt buildings and structures in Chile"
] |
[
"Fats Domino",
"Domino and Hurricane Katrina",
"What is domino?",
"President George W. Bush made a personal visit and replaced the National Medal of Arts that President Bill Clinton had previously awarded Domino.",
"why did he replace it?",
"As Hurricane Katrina approached New Orleans in August 2005, Domino chose to stay at home with his family, partly because his wife, Rosemary, was in poor health.",
"What was the result of this?",
"Domino was rumored to have died, and his home was vandalized when someone spray-painted the message \"RIP Fats. You will be missed\"."
] |
C_59e99b9b46e44d24a78bee0859d4058a_0
|
Did he actually die?
| 4 |
Did Fats Domino actually die?
|
Fats Domino
|
As Hurricane Katrina approached New Orleans in August 2005, Domino chose to stay at home with his family, partly because his wife, Rosemary, was in poor health. His house was in an area that was heavily flooded. Domino was rumored to have died, and his home was vandalized when someone spray-painted the message "RIP Fats. You will be missed". On September 1, the talent agent Al Embry announced that he had not heard from Domino since before the hurricane struck. Later that day, CNN reported that Domino had been rescued by a Coast Guard helicopter. Until then, even family members had not heard from him since before the storm. Embry confirmed that Domino and his family had been rescued. The family was then taken to a shelter in Baton Rouge, after which they were picked up by JaMarcus Russell, the starting quarterback of the Louisiana State University football team, and the boyfriend of Domino's granddaughter. He let the family stay in his apartment. The Washington Post reported that on September 2, they had left Russell's apartment after sleeping three nights on the couch. "We've lost everything," Domino said, according to the Post. By January 2006, work to gut and repair Domino's home and office had begun (see Reconstruction of New Orleans). In the meantime, the Domino family resided in Harvey, Louisiana. President George W. Bush made a personal visit and replaced the National Medal of Arts that President Bill Clinton had previously awarded Domino. The gold records were replaced by the RIAA and Capitol Records, which owned the Imperial Records catalogue. CANNOTANSWER
|
Later that day, CNN reported that Domino had been rescued by a Coast Guard helicopter.
|
Antoine Dominique Domino Jr. (February 26, 1928 – October 24, 2017), known as Fats Domino, was an American pianist and singer-songwriter. One of the pioneers of rock and roll music, Domino sold more than 65 million records. Born in New Orleans to a French Creole family, Domino signed to Imperial Records in 1949. His first single "The Fat Man" is cited by some historians as the first rock and roll single and the first to sell more than 1 million copies. Domino continued to work with the song's co-writer Dave Bartholomew, contributing his distinctive rolling piano style to Lloyd Price's "Lawdy Miss Clawdy" (1952) and scoring a string of mainstream hits beginning with "Ain't That a Shame" (1955). Between 1955 and 1960, he had eleven Top 10 US pop hits. By 1955, five of his records had sold more than a million copies, being certified gold.
Domino was shy and modest by nature but made a significant contribution to the rock and roll genre. Elvis Presley declared Domino a "huge influence on me when I started out" and described him as "the real king of rock 'n' roll". The artist himself did not define his work as rock and roll, saying of the genre "It wasn't anything but the same rhythm and blues I'd been playing down in New Orleans". Four of Domino's records were named to the Grammy Hall of Fame for their significance: "Blueberry Hill", "Ain't That A Shame", "Walking to New Orleans" and "The Fat Man". He was inducted into the Rock and Roll Hall of Fame as part of its first group of inductees in 1986. The Associated Press estimates that during his career, Domino "sold more than 110 million records".
Biography
Early life and education
Antoine Domino Jr. was born and raised in New Orleans, Louisiana, the youngest of eight children born to Antoine Caliste Domino (1879–1964) and Marie-Donatille Gros (1886–1971). The Domino family was of French Creole background, and Louisiana Creole was his first language. Like most such families, the Dominos were Catholic.
Antoine was born at home with the assistance of his grandmother, a midwife. His name was initially misspelled as Anthony on his birth certificate. His family had recently arrived in the Lower Ninth Ward from Vacherie, Louisiana. His father was a part-time violin player who worked at a racetrack.
He attended the Louis B. Macarty School, leaving to start work as a helper to an ice delivery man. Domino learned to play the piano in about 1938 from his brother-in-law, the jazz guitarist Harrison Verrett.
Early career (1940s)
By age 14, Domino was performing in New Orleans bars. In 1947, Billy Diamond, a New Orleans bandleader, accepted an invitation to hear the young pianist perform at a backyard barbecue. Domino played well enough that Diamond asked him to join his band, the Solid Senders, at the Hideaway Club in New Orleans, where he would earn $3 a week playing the piano. Diamond nicknamed him "Fats", because Domino reminded him of the renowned pianists Fats Waller and Fats Pichon, but also because of his large appetite.
Recordings for Imperial Records (1949–1962)
Domino was signed to the Imperial Records label in 1949 by owner Lew Chudd, to be paid royalties based on sales instead of a fee for each song. He and producer Dave Bartholomew wrote "The Fat Man", a toned down version of a song about drug addicts called "Junker Blues"; the record had sold a million copies by 1951. Featuring a rolling piano and Domino vocalizing "wah-wah" over a strong backbeat, "The Fat Man" is widely considered the first rock-and-roll record to achieve this level of sales. In 2015, the song would enter the Grammy Hall of Fame.
Domino released a series of hit songs with Bartholomew (also the co-writer of many of the songs), the saxophonists Herbert Hardesty and Alvin "Red" Tyler, the bassist Billy Diamond and later Frank Fields, and the drummers Earl Palmer and Smokey Johnson. Other notable and long-standing musicians in Domino's band were the saxophonists Reggie Houston, Lee Allen, and Fred Kemp, Domino's trusted bandleader.
While Domino's own recordings were done for Imperial, he sometimes sat in during that time as a session musician on recordings by other artists for other record labels. Domino's rolling piano triplets provided the memorable instrumental introduction for Lloyd Price's first hit, "Lawdy Miss Clawdy", recorded for Specialty Records on March 13, 1952, at Cosimo Matassa's J&M Studios in New Orleans (where Domino himself had earlier recorded "The Fat Man" and other songs). Dave Bartholomew was producing Price's record, which also featured familiar Domino collaborators Hardesty, Fields and Palmer as sidemen, and he asked Domino to play the piano part, replacing the original session pianist.
Domino crossed into the pop mainstream with "Ain't That a Shame" (mislabeled as "Ain't It a Shame") which reached the Top Ten. This was the first of his records to appear on the Billboard pop singles chart (on July 16, 1955), with the debut at number 14. A milder cover version by Pat Boone reached number 1, having received wider radio airplay in an era of racial segregation. In 1955, Domino was said to be earning $10,000 a week while touring, according to a report in the memoir of artist Chuck Berry. Domino eventually had 37 Top 40 singles, but none made it to number 1 on the Pop chart.
Domino's debut album contained several of his recent hits and earlier blues tracks that had not been released as singles, and was issued on the Imperial label (catalogue number 9009) in November 1955, and was reissued as Rock and Rollin' with Fats Domino. The reissue reached number 17 on the Billboard Pop Albums chart.
His 1956 recording of "Blueberry Hill", a 1940 song by Vincent Rose, Al Lewis and Larry Stock (which had previously been recorded by Gene Autry, Louis Armstrong and others), reached number 2 on the Billboard Juke Box chart for two weeks and was number 1 on the R&B chart for 11 weeks. It was his biggest hit, selling more than 5 million copies worldwide in 1956 and 1957. The song was subsequently recorded by Elvis Presley, Little Richard, and Led Zeppelin. Some 32 years later, the song would enter the
Grammy Hall of Fame.
Domino had further hit singles between 1956 and 1959, including "When My Dreamboat Comes Home" (Pop number 14), "I'm Walkin'" (Pop number 4), "Valley of Tears" (Pop number 8), "It's You I Love" (Pop number 6), "Whole Lotta Lovin'" (Pop number 6), "I Want to Walk You Home" (Pop number 8), and "Be My Guest" (Pop number 8). In 1957, Domino maintained "What they call rock 'n' roll now is rhythm and blues. I've been playing it for 15 years in New Orleans".
Domino appeared in two films released in 1956: Shake, Rattle & Rock! and The Girl Can't Help It. On December 18, 1957, his hit recording of "The Big Beat" was featured on Dick Clark's American Bandstand.
He was also featured in a movie of the same name.
On November 2, 1956, a riot broke out at a Domino concert in Fayetteville, North Carolina. The police used tear gas to break up the unruly crowd. Domino jumped out a window to avoid the melee; he and two members of his band were slightly injured. During his career, four major riots occurred at his concerts, "partly because of integration", according to his biographer Rick Coleman. "But also the fact they had alcohol at these shows. So they were mixing alcohol, plus dancing, plus the races together for the first time in a lot of these places." In November 1957, Domino appeared on The Ed Sullivan Show; no disturbance accompanied this performance.
In the same year, the article "King of Rock 'n' Roll" in Ebony magazine featured Domino who said he was on the road 340 days a year, up to $2,500 per evening, and grossing over $500,000; Domino also told readers that he owned 50 suits, 100 pairs of shoes and a $1,500 diamond horseshoe stick pin.
Domino had a steady series of hits for Imperial through early 1962, including "Walking to New Orleans" (1960, Pop number 6), co-written by Bobby Charles, and "My Girl Josephine" (Pop number 14) in the same year. He toured Europe in 1962 and met the Beatles who would later cite Domino as an inspiration. After returning, he played the first of his many stands in Las Vegas.
Imperial Records was sold in early 1963, and Domino left the label. "I stuck with them until they sold out," he said in 1979. In all, he recorded over 60 singles for Imperial, placing 40 songs in the top 10 on the R&B chart and 11 in the top 10 on the Pop chart, twenty-seven of which were double-sided hits.
Recordings after leaving Imperial (1963–1970s)
Domino moved to ABC-Paramount Records in 1963. The label dictated that he record in Nashville, Tennessee, rather than New Orleans. He was assigned a new producer (Felton Jarvis) and a new arranger (Bill Justis). Domino's long-term collaboration with the producer, arranger, and frequent co-writer Dave Bartholomew, who oversaw virtually all of his Imperial hits, was seemingly at an end. Jarvis and Justis changed the Domino sound somewhat, notably by adding the backing of a countrypolitan-style vocal chorus to most of his new recordings. He released 11 singles for ABC-Paramount, several which hit the Top 100 but just once entering the Top 40 ("Red Sails in the Sunset", 1963). By the end of 1964 the British Invasion had changed the tastes of the record-buying public, and Domino's chart run was over.
Despite the lack of chart success, Domino continued to record steadily until about 1970, leaving ABC-Paramount in mid-1965 and recording for Mercury Records, where he delivered a live album and two singles. A studio album was planned but stalled with just four tracks recorded. Dave Bartholomew's small Broadmoor label (reuniting with Bartholomew along the way), featured many contemporary Soul infused sides and a few single releases but an album was not released overseas until 1971 to fulfill his Reprise Records contract. He shifted to that label after Broadmoor and had a Top 100 single, a cover of the Beatles' "Lady Madonna".
Domino appeared in the Monkees' television special 33⅓ Revolutions per Monkee in 1969. In 1971, he opened for Ike & Tina Turner at Carnegie Hall. He continued to be popular as a performer for several decades. He made a cameo appearance in Clint Eastwood's movie Any Which Way You Can, filmed in 1979 and released in 1980, singing the country song "Whiskey Heaven", which later became a minor hit. His life and career were showcased in Joe Lauro's 2015 documentary The Big Beat: Fats Domino and the Birth of Rock 'n' Roll.
Later career (1980s–2005)
In 1986, Domino was one of the first musicians to be inducted into the Rock and Roll Hall of Fame. He also received the Grammy Lifetime Achievement Award in 1987. Domino's last album for a major label, Christmas Is a Special Day, was released in 1993.
Domino lived in a mansion in a predominantly working-class neighborhood in the Lower Ninth Ward, where he was a familiar sight in his bright pink Cadillac automobile. He made yearly appearances at the New Orleans Jazz & Heritage Festival and other local events.
His last tour was in Europe, for three weeks in 1995. After being ill while on tour, Domino decided he would no longer leave the New Orleans area, having a comfortable income from royalty payments and a dislike of touring and claiming he could not get any food that he liked anywhere else. In the same year, he received the Rhythm & Blues Foundation's Ray Charles Lifetime Achievement Award.
In 1998, President Bill Clinton awarded him the National Medal of Arts. Domino declined an invitation to perform at the White House.
In 2004, Rolling Stone magazine ranked him number 25 on its list of the "100 Greatest Artists of All Time" in an essay written by Dr. John.
Domino and Hurricane Katrina
As Hurricane Katrina approached New Orleans in August 2005, Domino chose to stay at home with his family, partly because his wife, Rosemary, was in poor health. His house was in an area that was heavily flooded.
Domino was rumored to have died, and his home was vandalized when someone spray-painted the message "RIP Fats. You will be missed". On September 1, the talent agent Al Embry announced that he had not heard from Domino since before the hurricane struck. Later that day, CNN reported that Domino had been rescued by a Coast Guard helicopter. Until then, even family members had not heard from him since before the storm. Embry confirmed that Domino and his family had been rescued. The family was then taken to a shelter in Baton Rouge, after which they were picked up by JaMarcus Russell, the starting quarterback of the Louisiana State University football team, and the boyfriend of Domino's granddaughter. He let the family stay in his apartment. The Washington Post reported that on September 2, they had left Russell's apartment after sleeping three nights on the couch. "We've lost everything," Domino said, according to the Post.
By January 2006, work to gut and repair Domino's home and office had begun (see Reconstruction of New Orleans). In the meantime, the Domino family resided in Harvey, Louisiana.
President George W. Bush made a personal visit and replaced the National Medal of Arts that President Bill Clinton had previously awarded Domino. The gold records were replaced by the RIAA and Capitol Records, which owned the Imperial Records catalogue.
Later life
Domino was scheduled to perform at the 2006 Jazz & Heritage Festival in New Orleans. However, he was suffering from anxiety and was forced to cancel the performance, but he did appear to offer the audience an on-stage greeting.
In 2006 Domino's album Alive and Kickin' was released to benefit the Tipitina's Foundation, which supports indigent local musicians and helps preserve the New Orleans sound. The album consists of unreleased recordings from the 1990s and received great critical acclaim.
On January 12, 2007, Domino was honored with OffBeat magazine's Lifetime Achievement Award at the annual Best of the Beat Awards, held at the House of Blues in New Orleans. New Orleans Mayor Ray Nagin declared the day "Fats Domino Day in New Orleans" and presented him with a signed declaration. Domino returned to stage on May 19, 2007, at Tipitina's at New Orleans, performing to a full house. This was his last public performance. The concert was recorded for a 2008 TV presentation entitled Fats Domino: Walkin' Back to New Orleans. This was a fund-raising concert, featuring a number of artists. Domino donated his fee to the cause. Later that year, a Vanguard record was released, Goin' Home: A Tribute to Fats Domino featuring his songs as recorded by Elton John, Neil Young, Tom Petty, Robert Plant, Willie Nelson, Norah Jones, Lenny Kravitz, and Lucinda Williams. A portion of the proceeds was to be used by the Foundation to help restore Domino's publishing office which had been damaged by the hurricane.
In September 2007, Domino was inducted into the Louisiana Music Hall of Fame.
In May 2009, Domino made an unexpected appearance in the audience for the Domino Effect, a concert featuring Little Richard and other artists, aimed at raising funds to help rebuild schools and playgrounds damaged by Hurricane Katrina.
In October 2012, Domino was featured in season three of the television series Treme, playing himself. On August 21, 2016, Domino was inducted into the National Rhythm and Blues Hall of Fame. The ceremony was held in Detroit, Michigan. The other inductees were Dionne Warwick, Cathy Hughes, Smokey Robinson, Prince, and the Supremes. He had received the Rhythm & Blues Foundation's Ray Charles Lifetime Achievement Award in 1995. His song "The Fat Man" entered the Grammy Hall of Fame in 2015.
Death
Domino died on October 24, 2017, at his home in Harvey, Louisiana, at the age of 89, from natural causes, according to the coroner's office.
Influence and legacy
Domino was one of the biggest stars of rock and roll in the 1950s, but he was not convinced that this was a new genre. In 1957, Domino said: "What they call rock 'n' roll now is rhythm and blues. I've been playing it for 15 years in New Orleans". According to Rolling Stone, "this is a valid statement ... all Fifties rockers, black and white, country born and city bred, were fundamentally influenced by R&B, the black popular music of the late Forties and early Fifties".
He was among the first R&B artists to gain popularity with white audiences. His biographer Rick Coleman argues that Domino's records and tours with rock-and-roll shows in that decade, bringing together black and white youths in a shared appreciation of his music, was a factor in the breakdown of racial segregation in the United States. The artist himself did not define his work as rock and roll, saying, "It wasn't anything but the same rhythm and blues I'd been playin' down in New Orleans."
Both John Lennon and Paul McCartney recorded Domino songs. According to some reports, McCartney wrote the Beatles song "Lady Madonna" in emulation of Domino's style, combining it with a nod to Humphrey Lyttelton's 1956 hit "Bad Penny Blues". Domino also recorded the song in 1968. Domino returned to the "Hot 100" chart for the last time in 1968, with his recording of "Lady Madonna". That recording, as well as covers of two other songs by the Beatles, appeared on his Reprise album Fats Is Back, produced by Richard Perry and with several hits recorded by a band that included the New Orleans pianist James Booker.
Domino was present in the audience of 2,200 people at Elvis Presley's first concert at the Las Vegas Hilton on July 31, 1969. At a press conference after the show, when a journalist referred to Presley as "The King", Presley gestured toward Domino, who was taking in the scene. "No," Presley said, "that's the real king of rock and roll." Presley made a subsequent comment, "rock 'n' roll was here a long time before I came along. Let's face it: I can't sing like Fats Domino can. I know that" and added that Domino was "a huge influence on me when I started out".
About a photograph made of him and Elvis together, Domino said: "Elvis told me he flopped the first time he came to Las Vegas. I loved his music. He could sing anything ... I'm glad we took this picture." (Fats Domino (2002). "Music Pioneer Fats Domino Talks About Elvis." Retrieved from "USA Today." December 10, 2002.)
Domino received a Grammy Lifetime Achievement Award in 1987.
John Lennon covered Domino's composition "Ain't That a Shame" on his 1975 album "Rock 'n' Roll," his tribute to the musicians who had influenced him.
American band Cheap Trick recorded "Ain't That a Shame" on their 1978 live album Cheap Trick at Budokan and released it as the second single from the album. It reached 35 of the Billboard Hot 100. Reportedly, this was Domino's favorite cover. It remains a staple of their live performances, including at their 25th Anniversary concert (which was recorded as the album and DVD Silver) and at their induction into the Rock and Roll Hall of Fame in 2016.
The Jamaican reggae artist Yellowman covered many songs by Domino, including "Be My Guest" and "Blueberry Hill."
Jah Wobble, a post-punk bassist best known for his work with Johnny Rotten, released a solo recording of "Blueberry Hill".
The Jamaican ska band Justin Hinds and the Dominoes, formed in the 1960s, was named after Domino, Hinds's favorite singer.
In 2007, various artists came together for a tribute to Domino, recording a live session containing only his songs. Musicians performing on the album, Goin' Home: A Tribute to Fats Domino, included Paul McCartney, Norah Jones, Willie Nelson, Neil Young, and Elton John.
According to Richie Unterberger, writing for AllMusic, Domino was one of the most consistent artists of early rock music, the best-selling African-American rock-and-roll star of the 1950s, and the most popular singer of the "classic" New Orleans rhythm and blues style. His million-selling debut single, "The Fat Man" (1949), is one of many that have been cited as the first rock and roll record. Robert Christgau wrote that Domino was "the most widely liked rock and roller of the '50s" and remarked on his influence:
Domino's rhythm, accentuating the offbeat, as in the song "Be My Guest", was an influence on ska music.
Personal life
Domino was married to Rosemary Domino ( Hall) from 1947 until her death in 2008; the couple had eight children: Antoine III (1950-2015), Anatole, Andre (1952-1997), Antonio, Antoinette, Andrea, Anola, and Adonica.
Even after his success he continued to live in his old neighborhood, the Lower Ninth Ward, until after Hurricane Katrina, when he moved to a suburb of New Orleans.
Discography
Fats Domino discography
List of songs recorded by Fats Domino
Studio albums
References
External links
Fats Domino at history-of-rock.com
Fats Domino: Walking to New Orleans special
1928 births
2017 deaths
African-American pianists
African-American rock musicians
American baritones
American blues pianists
American male pianists
American rock pianists
American rhythm and blues singers
American rock singers
Boogie-woogie pianists
Grammy Lifetime Achievement Award winners
Imperial Records artists
Louisiana Creole people
Rhythm and blues musicians from New Orleans
Rock and roll musicians
Songwriters from Louisiana
Stride pianists
United States National Medal of Arts recipients
Singers from Louisiana
People from Harvey, Louisiana
ABC Records artists
London Records artists
Mercury Records artists
Reprise Records artists
Warner Records artists
Male jazz musicians
African-American male singer-songwriters
African-American Catholics
20th-century African-American male singers
Singer-songwriters from Louisiana
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[
"The term Pax Austriaca, sometimes Pax Habsburgica, has been used by scholars to describe the imperial ideology of the House of Habsburg, also known as House of Austria. The Archduke Frederick III is credited as the initiator of the ideology as he was the first Habsburg to be elected Holy Roman Emperor, and coined the motto A.E.I.O.U. (All the world is subject to Austria). His successor Emperor Maximilian I expanded Habsburg territories and did so with marriages rather than war, thus establishing the motto \"Bella gerunt alii, tu felix Austria nube\" (\"let others wage war; you, happy Austria, marry\"). Charles V notably attempted to actually enforce the hegemonical peace in Europe. Further attempts to establish a Pax Habsburgica in Europe continued until the 30 years war. The Peace of Westphalia ended the universal aspirations of the Habsburg Monarchy and put an end to the possibility of a Pax Austriaca, although the term has also been used to describe later policies of the Austrian Empire and Austria-Hungary.\n\nReferences\n\nExternal links\nThe Middle Ages in the Austrian tradition in Images and Ideas of the Middle Ages\nThe grand strategy of the Habsbsburg Empire\nPax Austriaca: Sinn und Geschichte des österreichischen Staatsgedankens\nThe Practice of Strategy: From Alexander the Great to the Present\nGasparo Contarini, Venice, Rome, and Reform\nLe prime strette dell'Austria in Italia\nDie Allegorie der Austria: die Entstehung des Gesamtstaatsgedankens in der österreichisch-ungarischen Monarchie und die bildende Kunst\n\nHouse of Habsburg\nAustriaca",
"Oscar Nathan Straus (6 March 1870 – 11 January 1954) was a Viennese composer of operettas, film scores, and songs. He also wrote about 500 cabaret songs, chamber music, and orchestral and choral works. His original name was actually Strauss, but for professional purposes he deliberately omitted the final 's'. He wished not to be associated with the musical Strauss family of Vienna. However, he did follow the advice of Johann Strauss II in 1898 about abandoning the prospective lure of writing waltzes for the more lucrative business of writing for the theatre.\n\nThe son of a Jewish family, he studied music in Berlin under Max Bruch, and became an orchestral conductor, working at the Überbrettl cabaret. He went back to Vienna and began writing operettas, becoming a serious rival to Franz Lehár. When Lehár's popular The Merry Widow premiered in 1905, Straus was said to have remarked \"Das kann ich auch!\" (I can also do that!). In 1939, following the Nazi Anschluss, he fled to Paris, where he received the honour of a Chevalier of the Légion d'honneur, and then to Hollywood. After the war, he returned to Europe, and settled at Bad Ischl, where he died. His grave is in the Bad Ischl Friedhof.\n\nStraus' best-known works are Ein Walzertraum (A Waltz Dream), and The Chocolate Soldier (Der tapfere Soldat). The waltz arrangement from the former is probably his most enduring orchestral work. Among his most famous works is the theme from the 1950 film La Ronde.\n\nWorks\n\nOperettas\n\nDie lustigen Nibelungen (The Merry Nibelungs) – 1904\nZur indischen Witwe – 1905\nHugdietrichs Brautfahrt (Hugdietrich's Honeymoon) – 1906\nEin Walzertraum (A Waltz Dream) – 1907\nDer tapfere Soldat (The Gallant Soldier, The Chocolate Soldier) – 1908\nDidi – 1908\nDas Tal der Liebe – 1909\nMein junger Herr (My Son John) – 1910\nDie kleine Freundin (My Little Friend) – 1911\nDer tapfere Cassian (The Brave Cassian) – 1912\nThe Dancing Viennese – 1912\nLove and Laughter – 1913\nRund um die Liebe – 1914\nLiebeszauber – 1916\nEine Ballnacht – 1918\nDer letzte Walzer (The Last Waltz) – 1920\nDie Perlen der Cleopatra – 1923\nDie Teresina – 1925\nDie Königin – 1926\nMarietta – [1927 in French, 1928 in German]\nDie Musik kommt – 1928\nEine Frau, die weiß, was sie will – 1932\nDrei Walzer (Three Waltzes) – 1935\nIhr erster Walzer (revised version, Die Musik kommt) – 1950\nBozena – 1952\n\nBallets\nColombine – 1904\nDie Prinzessin von Tragant – 1912\n\nFilm scores\nA Lady's Morals – 1930\nDanube Love Song – 1931 (never released due to backlash against musicals)\nThe Smiling Lieutenant – 1931\nThe Southerner – 1932\nOne Hour with You – 1932\n The Gentleman from Maxim's – 1933\nFrühlingsstimmen – 1934\nLand Without Music – 1935\nMake a Wish – 1935\n Sarajevo – 1940\nLa Ronde – 1950\n\nReferences\n\nFurther reading\nGrun, Bernard: Prince of Vienna: the Life, Times and Melodies of Oscar Straus (London, 1955).\nGänzl, Kurt. The Encyclopedia of Musical Theatre (3 volumes). New York: Schirmer Books, 2001.\nTraubner, Richard. Operetta: A Theatrical History. Garden City, New York: Doubleday & Company, 1983.\n\nExternal links \n\n List of Straus's stage works, with information and links\n List of stage works, operone.de\n \n \n\n1870 births\n1954 deaths\n19th-century Austrian composers\n20th-century Austrian composers\n20th-century classical composers\nAustrian film score composers\nAustrian opera composers\nMale opera composers\nAustrian Jews\nJewish composers\nAustrian Romantic composers\nComposers from Vienna\nChevaliers of the Légion d'honneur\nAustrian refugees\nAustrian male classical composers\n20th-century male musicians\n19th-century male musicians\nBurials at the Bad Ischl Friedhof"
] |
[
"Fats Domino",
"Domino and Hurricane Katrina",
"What is domino?",
"President George W. Bush made a personal visit and replaced the National Medal of Arts that President Bill Clinton had previously awarded Domino.",
"why did he replace it?",
"As Hurricane Katrina approached New Orleans in August 2005, Domino chose to stay at home with his family, partly because his wife, Rosemary, was in poor health.",
"What was the result of this?",
"Domino was rumored to have died, and his home was vandalized when someone spray-painted the message \"RIP Fats. You will be missed\".",
"Did he actually die?",
"Later that day, CNN reported that Domino had been rescued by a Coast Guard helicopter."
] |
C_59e99b9b46e44d24a78bee0859d4058a_0
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how did they know where he was?
| 5 |
how did CNN know where Fats Domino was after Hurricane Katrina?
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Fats Domino
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As Hurricane Katrina approached New Orleans in August 2005, Domino chose to stay at home with his family, partly because his wife, Rosemary, was in poor health. His house was in an area that was heavily flooded. Domino was rumored to have died, and his home was vandalized when someone spray-painted the message "RIP Fats. You will be missed". On September 1, the talent agent Al Embry announced that he had not heard from Domino since before the hurricane struck. Later that day, CNN reported that Domino had been rescued by a Coast Guard helicopter. Until then, even family members had not heard from him since before the storm. Embry confirmed that Domino and his family had been rescued. The family was then taken to a shelter in Baton Rouge, after which they were picked up by JaMarcus Russell, the starting quarterback of the Louisiana State University football team, and the boyfriend of Domino's granddaughter. He let the family stay in his apartment. The Washington Post reported that on September 2, they had left Russell's apartment after sleeping three nights on the couch. "We've lost everything," Domino said, according to the Post. By January 2006, work to gut and repair Domino's home and office had begun (see Reconstruction of New Orleans). In the meantime, the Domino family resided in Harvey, Louisiana. President George W. Bush made a personal visit and replaced the National Medal of Arts that President Bill Clinton had previously awarded Domino. The gold records were replaced by the RIAA and Capitol Records, which owned the Imperial Records catalogue. CANNOTANSWER
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His house was in an area that was heavily flooded.
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Antoine Dominique Domino Jr. (February 26, 1928 – October 24, 2017), known as Fats Domino, was an American pianist and singer-songwriter. One of the pioneers of rock and roll music, Domino sold more than 65 million records. Born in New Orleans to a French Creole family, Domino signed to Imperial Records in 1949. His first single "The Fat Man" is cited by some historians as the first rock and roll single and the first to sell more than 1 million copies. Domino continued to work with the song's co-writer Dave Bartholomew, contributing his distinctive rolling piano style to Lloyd Price's "Lawdy Miss Clawdy" (1952) and scoring a string of mainstream hits beginning with "Ain't That a Shame" (1955). Between 1955 and 1960, he had eleven Top 10 US pop hits. By 1955, five of his records had sold more than a million copies, being certified gold.
Domino was shy and modest by nature but made a significant contribution to the rock and roll genre. Elvis Presley declared Domino a "huge influence on me when I started out" and described him as "the real king of rock 'n' roll". The artist himself did not define his work as rock and roll, saying of the genre "It wasn't anything but the same rhythm and blues I'd been playing down in New Orleans". Four of Domino's records were named to the Grammy Hall of Fame for their significance: "Blueberry Hill", "Ain't That A Shame", "Walking to New Orleans" and "The Fat Man". He was inducted into the Rock and Roll Hall of Fame as part of its first group of inductees in 1986. The Associated Press estimates that during his career, Domino "sold more than 110 million records".
Biography
Early life and education
Antoine Domino Jr. was born and raised in New Orleans, Louisiana, the youngest of eight children born to Antoine Caliste Domino (1879–1964) and Marie-Donatille Gros (1886–1971). The Domino family was of French Creole background, and Louisiana Creole was his first language. Like most such families, the Dominos were Catholic.
Antoine was born at home with the assistance of his grandmother, a midwife. His name was initially misspelled as Anthony on his birth certificate. His family had recently arrived in the Lower Ninth Ward from Vacherie, Louisiana. His father was a part-time violin player who worked at a racetrack.
He attended the Louis B. Macarty School, leaving to start work as a helper to an ice delivery man. Domino learned to play the piano in about 1938 from his brother-in-law, the jazz guitarist Harrison Verrett.
Early career (1940s)
By age 14, Domino was performing in New Orleans bars. In 1947, Billy Diamond, a New Orleans bandleader, accepted an invitation to hear the young pianist perform at a backyard barbecue. Domino played well enough that Diamond asked him to join his band, the Solid Senders, at the Hideaway Club in New Orleans, where he would earn $3 a week playing the piano. Diamond nicknamed him "Fats", because Domino reminded him of the renowned pianists Fats Waller and Fats Pichon, but also because of his large appetite.
Recordings for Imperial Records (1949–1962)
Domino was signed to the Imperial Records label in 1949 by owner Lew Chudd, to be paid royalties based on sales instead of a fee for each song. He and producer Dave Bartholomew wrote "The Fat Man", a toned down version of a song about drug addicts called "Junker Blues"; the record had sold a million copies by 1951. Featuring a rolling piano and Domino vocalizing "wah-wah" over a strong backbeat, "The Fat Man" is widely considered the first rock-and-roll record to achieve this level of sales. In 2015, the song would enter the Grammy Hall of Fame.
Domino released a series of hit songs with Bartholomew (also the co-writer of many of the songs), the saxophonists Herbert Hardesty and Alvin "Red" Tyler, the bassist Billy Diamond and later Frank Fields, and the drummers Earl Palmer and Smokey Johnson. Other notable and long-standing musicians in Domino's band were the saxophonists Reggie Houston, Lee Allen, and Fred Kemp, Domino's trusted bandleader.
While Domino's own recordings were done for Imperial, he sometimes sat in during that time as a session musician on recordings by other artists for other record labels. Domino's rolling piano triplets provided the memorable instrumental introduction for Lloyd Price's first hit, "Lawdy Miss Clawdy", recorded for Specialty Records on March 13, 1952, at Cosimo Matassa's J&M Studios in New Orleans (where Domino himself had earlier recorded "The Fat Man" and other songs). Dave Bartholomew was producing Price's record, which also featured familiar Domino collaborators Hardesty, Fields and Palmer as sidemen, and he asked Domino to play the piano part, replacing the original session pianist.
Domino crossed into the pop mainstream with "Ain't That a Shame" (mislabeled as "Ain't It a Shame") which reached the Top Ten. This was the first of his records to appear on the Billboard pop singles chart (on July 16, 1955), with the debut at number 14. A milder cover version by Pat Boone reached number 1, having received wider radio airplay in an era of racial segregation. In 1955, Domino was said to be earning $10,000 a week while touring, according to a report in the memoir of artist Chuck Berry. Domino eventually had 37 Top 40 singles, but none made it to number 1 on the Pop chart.
Domino's debut album contained several of his recent hits and earlier blues tracks that had not been released as singles, and was issued on the Imperial label (catalogue number 9009) in November 1955, and was reissued as Rock and Rollin' with Fats Domino. The reissue reached number 17 on the Billboard Pop Albums chart.
His 1956 recording of "Blueberry Hill", a 1940 song by Vincent Rose, Al Lewis and Larry Stock (which had previously been recorded by Gene Autry, Louis Armstrong and others), reached number 2 on the Billboard Juke Box chart for two weeks and was number 1 on the R&B chart for 11 weeks. It was his biggest hit, selling more than 5 million copies worldwide in 1956 and 1957. The song was subsequently recorded by Elvis Presley, Little Richard, and Led Zeppelin. Some 32 years later, the song would enter the
Grammy Hall of Fame.
Domino had further hit singles between 1956 and 1959, including "When My Dreamboat Comes Home" (Pop number 14), "I'm Walkin'" (Pop number 4), "Valley of Tears" (Pop number 8), "It's You I Love" (Pop number 6), "Whole Lotta Lovin'" (Pop number 6), "I Want to Walk You Home" (Pop number 8), and "Be My Guest" (Pop number 8). In 1957, Domino maintained "What they call rock 'n' roll now is rhythm and blues. I've been playing it for 15 years in New Orleans".
Domino appeared in two films released in 1956: Shake, Rattle & Rock! and The Girl Can't Help It. On December 18, 1957, his hit recording of "The Big Beat" was featured on Dick Clark's American Bandstand.
He was also featured in a movie of the same name.
On November 2, 1956, a riot broke out at a Domino concert in Fayetteville, North Carolina. The police used tear gas to break up the unruly crowd. Domino jumped out a window to avoid the melee; he and two members of his band were slightly injured. During his career, four major riots occurred at his concerts, "partly because of integration", according to his biographer Rick Coleman. "But also the fact they had alcohol at these shows. So they were mixing alcohol, plus dancing, plus the races together for the first time in a lot of these places." In November 1957, Domino appeared on The Ed Sullivan Show; no disturbance accompanied this performance.
In the same year, the article "King of Rock 'n' Roll" in Ebony magazine featured Domino who said he was on the road 340 days a year, up to $2,500 per evening, and grossing over $500,000; Domino also told readers that he owned 50 suits, 100 pairs of shoes and a $1,500 diamond horseshoe stick pin.
Domino had a steady series of hits for Imperial through early 1962, including "Walking to New Orleans" (1960, Pop number 6), co-written by Bobby Charles, and "My Girl Josephine" (Pop number 14) in the same year. He toured Europe in 1962 and met the Beatles who would later cite Domino as an inspiration. After returning, he played the first of his many stands in Las Vegas.
Imperial Records was sold in early 1963, and Domino left the label. "I stuck with them until they sold out," he said in 1979. In all, he recorded over 60 singles for Imperial, placing 40 songs in the top 10 on the R&B chart and 11 in the top 10 on the Pop chart, twenty-seven of which were double-sided hits.
Recordings after leaving Imperial (1963–1970s)
Domino moved to ABC-Paramount Records in 1963. The label dictated that he record in Nashville, Tennessee, rather than New Orleans. He was assigned a new producer (Felton Jarvis) and a new arranger (Bill Justis). Domino's long-term collaboration with the producer, arranger, and frequent co-writer Dave Bartholomew, who oversaw virtually all of his Imperial hits, was seemingly at an end. Jarvis and Justis changed the Domino sound somewhat, notably by adding the backing of a countrypolitan-style vocal chorus to most of his new recordings. He released 11 singles for ABC-Paramount, several which hit the Top 100 but just once entering the Top 40 ("Red Sails in the Sunset", 1963). By the end of 1964 the British Invasion had changed the tastes of the record-buying public, and Domino's chart run was over.
Despite the lack of chart success, Domino continued to record steadily until about 1970, leaving ABC-Paramount in mid-1965 and recording for Mercury Records, where he delivered a live album and two singles. A studio album was planned but stalled with just four tracks recorded. Dave Bartholomew's small Broadmoor label (reuniting with Bartholomew along the way), featured many contemporary Soul infused sides and a few single releases but an album was not released overseas until 1971 to fulfill his Reprise Records contract. He shifted to that label after Broadmoor and had a Top 100 single, a cover of the Beatles' "Lady Madonna".
Domino appeared in the Monkees' television special 33⅓ Revolutions per Monkee in 1969. In 1971, he opened for Ike & Tina Turner at Carnegie Hall. He continued to be popular as a performer for several decades. He made a cameo appearance in Clint Eastwood's movie Any Which Way You Can, filmed in 1979 and released in 1980, singing the country song "Whiskey Heaven", which later became a minor hit. His life and career were showcased in Joe Lauro's 2015 documentary The Big Beat: Fats Domino and the Birth of Rock 'n' Roll.
Later career (1980s–2005)
In 1986, Domino was one of the first musicians to be inducted into the Rock and Roll Hall of Fame. He also received the Grammy Lifetime Achievement Award in 1987. Domino's last album for a major label, Christmas Is a Special Day, was released in 1993.
Domino lived in a mansion in a predominantly working-class neighborhood in the Lower Ninth Ward, where he was a familiar sight in his bright pink Cadillac automobile. He made yearly appearances at the New Orleans Jazz & Heritage Festival and other local events.
His last tour was in Europe, for three weeks in 1995. After being ill while on tour, Domino decided he would no longer leave the New Orleans area, having a comfortable income from royalty payments and a dislike of touring and claiming he could not get any food that he liked anywhere else. In the same year, he received the Rhythm & Blues Foundation's Ray Charles Lifetime Achievement Award.
In 1998, President Bill Clinton awarded him the National Medal of Arts. Domino declined an invitation to perform at the White House.
In 2004, Rolling Stone magazine ranked him number 25 on its list of the "100 Greatest Artists of All Time" in an essay written by Dr. John.
Domino and Hurricane Katrina
As Hurricane Katrina approached New Orleans in August 2005, Domino chose to stay at home with his family, partly because his wife, Rosemary, was in poor health. His house was in an area that was heavily flooded.
Domino was rumored to have died, and his home was vandalized when someone spray-painted the message "RIP Fats. You will be missed". On September 1, the talent agent Al Embry announced that he had not heard from Domino since before the hurricane struck. Later that day, CNN reported that Domino had been rescued by a Coast Guard helicopter. Until then, even family members had not heard from him since before the storm. Embry confirmed that Domino and his family had been rescued. The family was then taken to a shelter in Baton Rouge, after which they were picked up by JaMarcus Russell, the starting quarterback of the Louisiana State University football team, and the boyfriend of Domino's granddaughter. He let the family stay in his apartment. The Washington Post reported that on September 2, they had left Russell's apartment after sleeping three nights on the couch. "We've lost everything," Domino said, according to the Post.
By January 2006, work to gut and repair Domino's home and office had begun (see Reconstruction of New Orleans). In the meantime, the Domino family resided in Harvey, Louisiana.
President George W. Bush made a personal visit and replaced the National Medal of Arts that President Bill Clinton had previously awarded Domino. The gold records were replaced by the RIAA and Capitol Records, which owned the Imperial Records catalogue.
Later life
Domino was scheduled to perform at the 2006 Jazz & Heritage Festival in New Orleans. However, he was suffering from anxiety and was forced to cancel the performance, but he did appear to offer the audience an on-stage greeting.
In 2006 Domino's album Alive and Kickin' was released to benefit the Tipitina's Foundation, which supports indigent local musicians and helps preserve the New Orleans sound. The album consists of unreleased recordings from the 1990s and received great critical acclaim.
On January 12, 2007, Domino was honored with OffBeat magazine's Lifetime Achievement Award at the annual Best of the Beat Awards, held at the House of Blues in New Orleans. New Orleans Mayor Ray Nagin declared the day "Fats Domino Day in New Orleans" and presented him with a signed declaration. Domino returned to stage on May 19, 2007, at Tipitina's at New Orleans, performing to a full house. This was his last public performance. The concert was recorded for a 2008 TV presentation entitled Fats Domino: Walkin' Back to New Orleans. This was a fund-raising concert, featuring a number of artists. Domino donated his fee to the cause. Later that year, a Vanguard record was released, Goin' Home: A Tribute to Fats Domino featuring his songs as recorded by Elton John, Neil Young, Tom Petty, Robert Plant, Willie Nelson, Norah Jones, Lenny Kravitz, and Lucinda Williams. A portion of the proceeds was to be used by the Foundation to help restore Domino's publishing office which had been damaged by the hurricane.
In September 2007, Domino was inducted into the Louisiana Music Hall of Fame.
In May 2009, Domino made an unexpected appearance in the audience for the Domino Effect, a concert featuring Little Richard and other artists, aimed at raising funds to help rebuild schools and playgrounds damaged by Hurricane Katrina.
In October 2012, Domino was featured in season three of the television series Treme, playing himself. On August 21, 2016, Domino was inducted into the National Rhythm and Blues Hall of Fame. The ceremony was held in Detroit, Michigan. The other inductees were Dionne Warwick, Cathy Hughes, Smokey Robinson, Prince, and the Supremes. He had received the Rhythm & Blues Foundation's Ray Charles Lifetime Achievement Award in 1995. His song "The Fat Man" entered the Grammy Hall of Fame in 2015.
Death
Domino died on October 24, 2017, at his home in Harvey, Louisiana, at the age of 89, from natural causes, according to the coroner's office.
Influence and legacy
Domino was one of the biggest stars of rock and roll in the 1950s, but he was not convinced that this was a new genre. In 1957, Domino said: "What they call rock 'n' roll now is rhythm and blues. I've been playing it for 15 years in New Orleans". According to Rolling Stone, "this is a valid statement ... all Fifties rockers, black and white, country born and city bred, were fundamentally influenced by R&B, the black popular music of the late Forties and early Fifties".
He was among the first R&B artists to gain popularity with white audiences. His biographer Rick Coleman argues that Domino's records and tours with rock-and-roll shows in that decade, bringing together black and white youths in a shared appreciation of his music, was a factor in the breakdown of racial segregation in the United States. The artist himself did not define his work as rock and roll, saying, "It wasn't anything but the same rhythm and blues I'd been playin' down in New Orleans."
Both John Lennon and Paul McCartney recorded Domino songs. According to some reports, McCartney wrote the Beatles song "Lady Madonna" in emulation of Domino's style, combining it with a nod to Humphrey Lyttelton's 1956 hit "Bad Penny Blues". Domino also recorded the song in 1968. Domino returned to the "Hot 100" chart for the last time in 1968, with his recording of "Lady Madonna". That recording, as well as covers of two other songs by the Beatles, appeared on his Reprise album Fats Is Back, produced by Richard Perry and with several hits recorded by a band that included the New Orleans pianist James Booker.
Domino was present in the audience of 2,200 people at Elvis Presley's first concert at the Las Vegas Hilton on July 31, 1969. At a press conference after the show, when a journalist referred to Presley as "The King", Presley gestured toward Domino, who was taking in the scene. "No," Presley said, "that's the real king of rock and roll." Presley made a subsequent comment, "rock 'n' roll was here a long time before I came along. Let's face it: I can't sing like Fats Domino can. I know that" and added that Domino was "a huge influence on me when I started out".
About a photograph made of him and Elvis together, Domino said: "Elvis told me he flopped the first time he came to Las Vegas. I loved his music. He could sing anything ... I'm glad we took this picture." (Fats Domino (2002). "Music Pioneer Fats Domino Talks About Elvis." Retrieved from "USA Today." December 10, 2002.)
Domino received a Grammy Lifetime Achievement Award in 1987.
John Lennon covered Domino's composition "Ain't That a Shame" on his 1975 album "Rock 'n' Roll," his tribute to the musicians who had influenced him.
American band Cheap Trick recorded "Ain't That a Shame" on their 1978 live album Cheap Trick at Budokan and released it as the second single from the album. It reached 35 of the Billboard Hot 100. Reportedly, this was Domino's favorite cover. It remains a staple of their live performances, including at their 25th Anniversary concert (which was recorded as the album and DVD Silver) and at their induction into the Rock and Roll Hall of Fame in 2016.
The Jamaican reggae artist Yellowman covered many songs by Domino, including "Be My Guest" and "Blueberry Hill."
Jah Wobble, a post-punk bassist best known for his work with Johnny Rotten, released a solo recording of "Blueberry Hill".
The Jamaican ska band Justin Hinds and the Dominoes, formed in the 1960s, was named after Domino, Hinds's favorite singer.
In 2007, various artists came together for a tribute to Domino, recording a live session containing only his songs. Musicians performing on the album, Goin' Home: A Tribute to Fats Domino, included Paul McCartney, Norah Jones, Willie Nelson, Neil Young, and Elton John.
According to Richie Unterberger, writing for AllMusic, Domino was one of the most consistent artists of early rock music, the best-selling African-American rock-and-roll star of the 1950s, and the most popular singer of the "classic" New Orleans rhythm and blues style. His million-selling debut single, "The Fat Man" (1949), is one of many that have been cited as the first rock and roll record. Robert Christgau wrote that Domino was "the most widely liked rock and roller of the '50s" and remarked on his influence:
Domino's rhythm, accentuating the offbeat, as in the song "Be My Guest", was an influence on ska music.
Personal life
Domino was married to Rosemary Domino ( Hall) from 1947 until her death in 2008; the couple had eight children: Antoine III (1950-2015), Anatole, Andre (1952-1997), Antonio, Antoinette, Andrea, Anola, and Adonica.
Even after his success he continued to live in his old neighborhood, the Lower Ninth Ward, until after Hurricane Katrina, when he moved to a suburb of New Orleans.
Discography
Fats Domino discography
List of songs recorded by Fats Domino
Studio albums
References
External links
Fats Domino at history-of-rock.com
Fats Domino: Walking to New Orleans special
1928 births
2017 deaths
African-American pianists
African-American rock musicians
American baritones
American blues pianists
American male pianists
American rock pianists
American rhythm and blues singers
American rock singers
Boogie-woogie pianists
Grammy Lifetime Achievement Award winners
Imperial Records artists
Louisiana Creole people
Rhythm and blues musicians from New Orleans
Rock and roll musicians
Songwriters from Louisiana
Stride pianists
United States National Medal of Arts recipients
Singers from Louisiana
People from Harvey, Louisiana
ABC Records artists
London Records artists
Mercury Records artists
Reprise Records artists
Warner Records artists
Male jazz musicians
African-American male singer-songwriters
African-American Catholics
20th-century African-American male singers
Singer-songwriters from Louisiana
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"How Did You Know is an extended play (EP) by Jamaican electronic dance musician Kurtis Mantronik. The EP was released in 2003 on the Southern Fried Records label, and features British singer Mim on vocals. \"How Did You Know (77 Strings)\" was released as a single from the EP, reaching number 16 on the UK Singles Chart and number three in Romania. The title track peaked atop the US Billboard Hot Dance Club Play chart in May 2004.\n\nTrack listing\n \"How Did You Know (Radio Edit)\" (Kurtis Mantronik, Miriam Grey - vocals) – 3:33 \n \"How Did You Know (Original Vocal)\" (Mantronik, Grey - vocals) – 6:35 \n \"How Did You Know (Tony Senghore Vocal)\" (Mantronik, Grey - vocals, Tony Senghore - remix) – 6:31 \n \"77 Strings (Original Instrumental)\" (Mantronik) – 7:57\n\nCharts\nThe following chart entries are for \"How Did You Know (77 Strings)\".\n\nWeekly charts\n\nYear-end charts\n\nRelease history\n\nReferences\n\nExternal links\n \n\n2003 EPs\n2003 singles\nAlbums produced by Kurtis Mantronik\nSouthern Fried Records albums",
"How Was I to Know can refer to two unrelated songs, both released in 1997:\n\"How Was I to Know\" (Reba McEntire song)\n\"How Was I to Know\" (John Michael Montgomery song)"
] |
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"Domino and Hurricane Katrina",
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"President George W. Bush made a personal visit and replaced the National Medal of Arts that President Bill Clinton had previously awarded Domino.",
"why did he replace it?",
"As Hurricane Katrina approached New Orleans in August 2005, Domino chose to stay at home with his family, partly because his wife, Rosemary, was in poor health.",
"What was the result of this?",
"Domino was rumored to have died, and his home was vandalized when someone spray-painted the message \"RIP Fats. You will be missed\".",
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"Later that day, CNN reported that Domino had been rescued by a Coast Guard helicopter.",
"how did they know where he was?",
"His house was in an area that was heavily flooded."
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C_59e99b9b46e44d24a78bee0859d4058a_0
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did his mother survive?
| 6 |
did Fats Domino's mother survive Hurricane Katrina?
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Fats Domino
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As Hurricane Katrina approached New Orleans in August 2005, Domino chose to stay at home with his family, partly because his wife, Rosemary, was in poor health. His house was in an area that was heavily flooded. Domino was rumored to have died, and his home was vandalized when someone spray-painted the message "RIP Fats. You will be missed". On September 1, the talent agent Al Embry announced that he had not heard from Domino since before the hurricane struck. Later that day, CNN reported that Domino had been rescued by a Coast Guard helicopter. Until then, even family members had not heard from him since before the storm. Embry confirmed that Domino and his family had been rescued. The family was then taken to a shelter in Baton Rouge, after which they were picked up by JaMarcus Russell, the starting quarterback of the Louisiana State University football team, and the boyfriend of Domino's granddaughter. He let the family stay in his apartment. The Washington Post reported that on September 2, they had left Russell's apartment after sleeping three nights on the couch. "We've lost everything," Domino said, according to the Post. By January 2006, work to gut and repair Domino's home and office had begun (see Reconstruction of New Orleans). In the meantime, the Domino family resided in Harvey, Louisiana. President George W. Bush made a personal visit and replaced the National Medal of Arts that President Bill Clinton had previously awarded Domino. The gold records were replaced by the RIAA and Capitol Records, which owned the Imperial Records catalogue. CANNOTANSWER
|
The Washington Post reported that on September 2, they had left Russell's apartment after sleeping three nights on the couch.
|
Antoine Dominique Domino Jr. (February 26, 1928 – October 24, 2017), known as Fats Domino, was an American pianist and singer-songwriter. One of the pioneers of rock and roll music, Domino sold more than 65 million records. Born in New Orleans to a French Creole family, Domino signed to Imperial Records in 1949. His first single "The Fat Man" is cited by some historians as the first rock and roll single and the first to sell more than 1 million copies. Domino continued to work with the song's co-writer Dave Bartholomew, contributing his distinctive rolling piano style to Lloyd Price's "Lawdy Miss Clawdy" (1952) and scoring a string of mainstream hits beginning with "Ain't That a Shame" (1955). Between 1955 and 1960, he had eleven Top 10 US pop hits. By 1955, five of his records had sold more than a million copies, being certified gold.
Domino was shy and modest by nature but made a significant contribution to the rock and roll genre. Elvis Presley declared Domino a "huge influence on me when I started out" and described him as "the real king of rock 'n' roll". The artist himself did not define his work as rock and roll, saying of the genre "It wasn't anything but the same rhythm and blues I'd been playing down in New Orleans". Four of Domino's records were named to the Grammy Hall of Fame for their significance: "Blueberry Hill", "Ain't That A Shame", "Walking to New Orleans" and "The Fat Man". He was inducted into the Rock and Roll Hall of Fame as part of its first group of inductees in 1986. The Associated Press estimates that during his career, Domino "sold more than 110 million records".
Biography
Early life and education
Antoine Domino Jr. was born and raised in New Orleans, Louisiana, the youngest of eight children born to Antoine Caliste Domino (1879–1964) and Marie-Donatille Gros (1886–1971). The Domino family was of French Creole background, and Louisiana Creole was his first language. Like most such families, the Dominos were Catholic.
Antoine was born at home with the assistance of his grandmother, a midwife. His name was initially misspelled as Anthony on his birth certificate. His family had recently arrived in the Lower Ninth Ward from Vacherie, Louisiana. His father was a part-time violin player who worked at a racetrack.
He attended the Louis B. Macarty School, leaving to start work as a helper to an ice delivery man. Domino learned to play the piano in about 1938 from his brother-in-law, the jazz guitarist Harrison Verrett.
Early career (1940s)
By age 14, Domino was performing in New Orleans bars. In 1947, Billy Diamond, a New Orleans bandleader, accepted an invitation to hear the young pianist perform at a backyard barbecue. Domino played well enough that Diamond asked him to join his band, the Solid Senders, at the Hideaway Club in New Orleans, where he would earn $3 a week playing the piano. Diamond nicknamed him "Fats", because Domino reminded him of the renowned pianists Fats Waller and Fats Pichon, but also because of his large appetite.
Recordings for Imperial Records (1949–1962)
Domino was signed to the Imperial Records label in 1949 by owner Lew Chudd, to be paid royalties based on sales instead of a fee for each song. He and producer Dave Bartholomew wrote "The Fat Man", a toned down version of a song about drug addicts called "Junker Blues"; the record had sold a million copies by 1951. Featuring a rolling piano and Domino vocalizing "wah-wah" over a strong backbeat, "The Fat Man" is widely considered the first rock-and-roll record to achieve this level of sales. In 2015, the song would enter the Grammy Hall of Fame.
Domino released a series of hit songs with Bartholomew (also the co-writer of many of the songs), the saxophonists Herbert Hardesty and Alvin "Red" Tyler, the bassist Billy Diamond and later Frank Fields, and the drummers Earl Palmer and Smokey Johnson. Other notable and long-standing musicians in Domino's band were the saxophonists Reggie Houston, Lee Allen, and Fred Kemp, Domino's trusted bandleader.
While Domino's own recordings were done for Imperial, he sometimes sat in during that time as a session musician on recordings by other artists for other record labels. Domino's rolling piano triplets provided the memorable instrumental introduction for Lloyd Price's first hit, "Lawdy Miss Clawdy", recorded for Specialty Records on March 13, 1952, at Cosimo Matassa's J&M Studios in New Orleans (where Domino himself had earlier recorded "The Fat Man" and other songs). Dave Bartholomew was producing Price's record, which also featured familiar Domino collaborators Hardesty, Fields and Palmer as sidemen, and he asked Domino to play the piano part, replacing the original session pianist.
Domino crossed into the pop mainstream with "Ain't That a Shame" (mislabeled as "Ain't It a Shame") which reached the Top Ten. This was the first of his records to appear on the Billboard pop singles chart (on July 16, 1955), with the debut at number 14. A milder cover version by Pat Boone reached number 1, having received wider radio airplay in an era of racial segregation. In 1955, Domino was said to be earning $10,000 a week while touring, according to a report in the memoir of artist Chuck Berry. Domino eventually had 37 Top 40 singles, but none made it to number 1 on the Pop chart.
Domino's debut album contained several of his recent hits and earlier blues tracks that had not been released as singles, and was issued on the Imperial label (catalogue number 9009) in November 1955, and was reissued as Rock and Rollin' with Fats Domino. The reissue reached number 17 on the Billboard Pop Albums chart.
His 1956 recording of "Blueberry Hill", a 1940 song by Vincent Rose, Al Lewis and Larry Stock (which had previously been recorded by Gene Autry, Louis Armstrong and others), reached number 2 on the Billboard Juke Box chart for two weeks and was number 1 on the R&B chart for 11 weeks. It was his biggest hit, selling more than 5 million copies worldwide in 1956 and 1957. The song was subsequently recorded by Elvis Presley, Little Richard, and Led Zeppelin. Some 32 years later, the song would enter the
Grammy Hall of Fame.
Domino had further hit singles between 1956 and 1959, including "When My Dreamboat Comes Home" (Pop number 14), "I'm Walkin'" (Pop number 4), "Valley of Tears" (Pop number 8), "It's You I Love" (Pop number 6), "Whole Lotta Lovin'" (Pop number 6), "I Want to Walk You Home" (Pop number 8), and "Be My Guest" (Pop number 8). In 1957, Domino maintained "What they call rock 'n' roll now is rhythm and blues. I've been playing it for 15 years in New Orleans".
Domino appeared in two films released in 1956: Shake, Rattle & Rock! and The Girl Can't Help It. On December 18, 1957, his hit recording of "The Big Beat" was featured on Dick Clark's American Bandstand.
He was also featured in a movie of the same name.
On November 2, 1956, a riot broke out at a Domino concert in Fayetteville, North Carolina. The police used tear gas to break up the unruly crowd. Domino jumped out a window to avoid the melee; he and two members of his band were slightly injured. During his career, four major riots occurred at his concerts, "partly because of integration", according to his biographer Rick Coleman. "But also the fact they had alcohol at these shows. So they were mixing alcohol, plus dancing, plus the races together for the first time in a lot of these places." In November 1957, Domino appeared on The Ed Sullivan Show; no disturbance accompanied this performance.
In the same year, the article "King of Rock 'n' Roll" in Ebony magazine featured Domino who said he was on the road 340 days a year, up to $2,500 per evening, and grossing over $500,000; Domino also told readers that he owned 50 suits, 100 pairs of shoes and a $1,500 diamond horseshoe stick pin.
Domino had a steady series of hits for Imperial through early 1962, including "Walking to New Orleans" (1960, Pop number 6), co-written by Bobby Charles, and "My Girl Josephine" (Pop number 14) in the same year. He toured Europe in 1962 and met the Beatles who would later cite Domino as an inspiration. After returning, he played the first of his many stands in Las Vegas.
Imperial Records was sold in early 1963, and Domino left the label. "I stuck with them until they sold out," he said in 1979. In all, he recorded over 60 singles for Imperial, placing 40 songs in the top 10 on the R&B chart and 11 in the top 10 on the Pop chart, twenty-seven of which were double-sided hits.
Recordings after leaving Imperial (1963–1970s)
Domino moved to ABC-Paramount Records in 1963. The label dictated that he record in Nashville, Tennessee, rather than New Orleans. He was assigned a new producer (Felton Jarvis) and a new arranger (Bill Justis). Domino's long-term collaboration with the producer, arranger, and frequent co-writer Dave Bartholomew, who oversaw virtually all of his Imperial hits, was seemingly at an end. Jarvis and Justis changed the Domino sound somewhat, notably by adding the backing of a countrypolitan-style vocal chorus to most of his new recordings. He released 11 singles for ABC-Paramount, several which hit the Top 100 but just once entering the Top 40 ("Red Sails in the Sunset", 1963). By the end of 1964 the British Invasion had changed the tastes of the record-buying public, and Domino's chart run was over.
Despite the lack of chart success, Domino continued to record steadily until about 1970, leaving ABC-Paramount in mid-1965 and recording for Mercury Records, where he delivered a live album and two singles. A studio album was planned but stalled with just four tracks recorded. Dave Bartholomew's small Broadmoor label (reuniting with Bartholomew along the way), featured many contemporary Soul infused sides and a few single releases but an album was not released overseas until 1971 to fulfill his Reprise Records contract. He shifted to that label after Broadmoor and had a Top 100 single, a cover of the Beatles' "Lady Madonna".
Domino appeared in the Monkees' television special 33⅓ Revolutions per Monkee in 1969. In 1971, he opened for Ike & Tina Turner at Carnegie Hall. He continued to be popular as a performer for several decades. He made a cameo appearance in Clint Eastwood's movie Any Which Way You Can, filmed in 1979 and released in 1980, singing the country song "Whiskey Heaven", which later became a minor hit. His life and career were showcased in Joe Lauro's 2015 documentary The Big Beat: Fats Domino and the Birth of Rock 'n' Roll.
Later career (1980s–2005)
In 1986, Domino was one of the first musicians to be inducted into the Rock and Roll Hall of Fame. He also received the Grammy Lifetime Achievement Award in 1987. Domino's last album for a major label, Christmas Is a Special Day, was released in 1993.
Domino lived in a mansion in a predominantly working-class neighborhood in the Lower Ninth Ward, where he was a familiar sight in his bright pink Cadillac automobile. He made yearly appearances at the New Orleans Jazz & Heritage Festival and other local events.
His last tour was in Europe, for three weeks in 1995. After being ill while on tour, Domino decided he would no longer leave the New Orleans area, having a comfortable income from royalty payments and a dislike of touring and claiming he could not get any food that he liked anywhere else. In the same year, he received the Rhythm & Blues Foundation's Ray Charles Lifetime Achievement Award.
In 1998, President Bill Clinton awarded him the National Medal of Arts. Domino declined an invitation to perform at the White House.
In 2004, Rolling Stone magazine ranked him number 25 on its list of the "100 Greatest Artists of All Time" in an essay written by Dr. John.
Domino and Hurricane Katrina
As Hurricane Katrina approached New Orleans in August 2005, Domino chose to stay at home with his family, partly because his wife, Rosemary, was in poor health. His house was in an area that was heavily flooded.
Domino was rumored to have died, and his home was vandalized when someone spray-painted the message "RIP Fats. You will be missed". On September 1, the talent agent Al Embry announced that he had not heard from Domino since before the hurricane struck. Later that day, CNN reported that Domino had been rescued by a Coast Guard helicopter. Until then, even family members had not heard from him since before the storm. Embry confirmed that Domino and his family had been rescued. The family was then taken to a shelter in Baton Rouge, after which they were picked up by JaMarcus Russell, the starting quarterback of the Louisiana State University football team, and the boyfriend of Domino's granddaughter. He let the family stay in his apartment. The Washington Post reported that on September 2, they had left Russell's apartment after sleeping three nights on the couch. "We've lost everything," Domino said, according to the Post.
By January 2006, work to gut and repair Domino's home and office had begun (see Reconstruction of New Orleans). In the meantime, the Domino family resided in Harvey, Louisiana.
President George W. Bush made a personal visit and replaced the National Medal of Arts that President Bill Clinton had previously awarded Domino. The gold records were replaced by the RIAA and Capitol Records, which owned the Imperial Records catalogue.
Later life
Domino was scheduled to perform at the 2006 Jazz & Heritage Festival in New Orleans. However, he was suffering from anxiety and was forced to cancel the performance, but he did appear to offer the audience an on-stage greeting.
In 2006 Domino's album Alive and Kickin' was released to benefit the Tipitina's Foundation, which supports indigent local musicians and helps preserve the New Orleans sound. The album consists of unreleased recordings from the 1990s and received great critical acclaim.
On January 12, 2007, Domino was honored with OffBeat magazine's Lifetime Achievement Award at the annual Best of the Beat Awards, held at the House of Blues in New Orleans. New Orleans Mayor Ray Nagin declared the day "Fats Domino Day in New Orleans" and presented him with a signed declaration. Domino returned to stage on May 19, 2007, at Tipitina's at New Orleans, performing to a full house. This was his last public performance. The concert was recorded for a 2008 TV presentation entitled Fats Domino: Walkin' Back to New Orleans. This was a fund-raising concert, featuring a number of artists. Domino donated his fee to the cause. Later that year, a Vanguard record was released, Goin' Home: A Tribute to Fats Domino featuring his songs as recorded by Elton John, Neil Young, Tom Petty, Robert Plant, Willie Nelson, Norah Jones, Lenny Kravitz, and Lucinda Williams. A portion of the proceeds was to be used by the Foundation to help restore Domino's publishing office which had been damaged by the hurricane.
In September 2007, Domino was inducted into the Louisiana Music Hall of Fame.
In May 2009, Domino made an unexpected appearance in the audience for the Domino Effect, a concert featuring Little Richard and other artists, aimed at raising funds to help rebuild schools and playgrounds damaged by Hurricane Katrina.
In October 2012, Domino was featured in season three of the television series Treme, playing himself. On August 21, 2016, Domino was inducted into the National Rhythm and Blues Hall of Fame. The ceremony was held in Detroit, Michigan. The other inductees were Dionne Warwick, Cathy Hughes, Smokey Robinson, Prince, and the Supremes. He had received the Rhythm & Blues Foundation's Ray Charles Lifetime Achievement Award in 1995. His song "The Fat Man" entered the Grammy Hall of Fame in 2015.
Death
Domino died on October 24, 2017, at his home in Harvey, Louisiana, at the age of 89, from natural causes, according to the coroner's office.
Influence and legacy
Domino was one of the biggest stars of rock and roll in the 1950s, but he was not convinced that this was a new genre. In 1957, Domino said: "What they call rock 'n' roll now is rhythm and blues. I've been playing it for 15 years in New Orleans". According to Rolling Stone, "this is a valid statement ... all Fifties rockers, black and white, country born and city bred, were fundamentally influenced by R&B, the black popular music of the late Forties and early Fifties".
He was among the first R&B artists to gain popularity with white audiences. His biographer Rick Coleman argues that Domino's records and tours with rock-and-roll shows in that decade, bringing together black and white youths in a shared appreciation of his music, was a factor in the breakdown of racial segregation in the United States. The artist himself did not define his work as rock and roll, saying, "It wasn't anything but the same rhythm and blues I'd been playin' down in New Orleans."
Both John Lennon and Paul McCartney recorded Domino songs. According to some reports, McCartney wrote the Beatles song "Lady Madonna" in emulation of Domino's style, combining it with a nod to Humphrey Lyttelton's 1956 hit "Bad Penny Blues". Domino also recorded the song in 1968. Domino returned to the "Hot 100" chart for the last time in 1968, with his recording of "Lady Madonna". That recording, as well as covers of two other songs by the Beatles, appeared on his Reprise album Fats Is Back, produced by Richard Perry and with several hits recorded by a band that included the New Orleans pianist James Booker.
Domino was present in the audience of 2,200 people at Elvis Presley's first concert at the Las Vegas Hilton on July 31, 1969. At a press conference after the show, when a journalist referred to Presley as "The King", Presley gestured toward Domino, who was taking in the scene. "No," Presley said, "that's the real king of rock and roll." Presley made a subsequent comment, "rock 'n' roll was here a long time before I came along. Let's face it: I can't sing like Fats Domino can. I know that" and added that Domino was "a huge influence on me when I started out".
About a photograph made of him and Elvis together, Domino said: "Elvis told me he flopped the first time he came to Las Vegas. I loved his music. He could sing anything ... I'm glad we took this picture." (Fats Domino (2002). "Music Pioneer Fats Domino Talks About Elvis." Retrieved from "USA Today." December 10, 2002.)
Domino received a Grammy Lifetime Achievement Award in 1987.
John Lennon covered Domino's composition "Ain't That a Shame" on his 1975 album "Rock 'n' Roll," his tribute to the musicians who had influenced him.
American band Cheap Trick recorded "Ain't That a Shame" on their 1978 live album Cheap Trick at Budokan and released it as the second single from the album. It reached 35 of the Billboard Hot 100. Reportedly, this was Domino's favorite cover. It remains a staple of their live performances, including at their 25th Anniversary concert (which was recorded as the album and DVD Silver) and at their induction into the Rock and Roll Hall of Fame in 2016.
The Jamaican reggae artist Yellowman covered many songs by Domino, including "Be My Guest" and "Blueberry Hill."
Jah Wobble, a post-punk bassist best known for his work with Johnny Rotten, released a solo recording of "Blueberry Hill".
The Jamaican ska band Justin Hinds and the Dominoes, formed in the 1960s, was named after Domino, Hinds's favorite singer.
In 2007, various artists came together for a tribute to Domino, recording a live session containing only his songs. Musicians performing on the album, Goin' Home: A Tribute to Fats Domino, included Paul McCartney, Norah Jones, Willie Nelson, Neil Young, and Elton John.
According to Richie Unterberger, writing for AllMusic, Domino was one of the most consistent artists of early rock music, the best-selling African-American rock-and-roll star of the 1950s, and the most popular singer of the "classic" New Orleans rhythm and blues style. His million-selling debut single, "The Fat Man" (1949), is one of many that have been cited as the first rock and roll record. Robert Christgau wrote that Domino was "the most widely liked rock and roller of the '50s" and remarked on his influence:
Domino's rhythm, accentuating the offbeat, as in the song "Be My Guest", was an influence on ska music.
Personal life
Domino was married to Rosemary Domino ( Hall) from 1947 until her death in 2008; the couple had eight children: Antoine III (1950-2015), Anatole, Andre (1952-1997), Antonio, Antoinette, Andrea, Anola, and Adonica.
Even after his success he continued to live in his old neighborhood, the Lower Ninth Ward, until after Hurricane Katrina, when he moved to a suburb of New Orleans.
Discography
Fats Domino discography
List of songs recorded by Fats Domino
Studio albums
References
External links
Fats Domino at history-of-rock.com
Fats Domino: Walking to New Orleans special
1928 births
2017 deaths
African-American pianists
African-American rock musicians
American baritones
American blues pianists
American male pianists
American rock pianists
American rhythm and blues singers
American rock singers
Boogie-woogie pianists
Grammy Lifetime Achievement Award winners
Imperial Records artists
Louisiana Creole people
Rhythm and blues musicians from New Orleans
Rock and roll musicians
Songwriters from Louisiana
Stride pianists
United States National Medal of Arts recipients
Singers from Louisiana
People from Harvey, Louisiana
ABC Records artists
London Records artists
Mercury Records artists
Reprise Records artists
Warner Records artists
Male jazz musicians
African-American male singer-songwriters
African-American Catholics
20th-century African-American male singers
Singer-songwriters from Louisiana
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[
"Elisabeth Luther () was the first daughter and second child born to German priest and iconic figure of the Protestant Reformation, Martin Luther and his wife, Katharina von Bora. She did not survive infancy.\n\nLife\nElisabeth Luther was born on in Wittenberg as the second child but first daughter of the newly-wed couple, who had been married for just two years. The infant was born quite sickly, possibly due to her mother's exposure to the Black Death. Katharina wrote:\n\nLittle Elisabeth died on in Wittenberg and she was buried in the Stadtkirche Wittenberg.\n\nReferences\n\n1527 births\n1528 deaths\nPeople from Wittenberg\nGerman Lutherans\nMartin Luther\nElisabeth",
"Luboš Dobrovský (born Luboš Hamerschlag, 3 February 1932 – 30 January 2020) was a Czech journalist and politician, who served as Czechoslovak Minister of Defence.\n\nDobrovsky's father Ludvík Hamerschlag was Jewish. Deported to Auschwitz concentration camp in September 1943, he did not survive the war. Dobrovský and his mother spent the war on a farm in Ohrada; his mother remarried the officer Josef Dobrovský after the war.\n\nDobrovský was member of Communist Party of Czechoslovakia and journalist of the Czechoslovak Radio between 1959 and 1968. He signed Charta 77 in the 1970s and served as a spokesman of the Civic Forum in 1989. Between October 1990 and June 1992 he was the Czechoslovak minister of defence. Later, he served as director of the Office of the Czech President Václav Havel. Between 1996 and 2000 he was the Czech Ambassador in Moscow.\n\nReferences \n\n1932 births\n2020 deaths\nWriters from Kolín\nCzech communists\nCzechoslovak democracy activists\nCzech journalists\nCzech diplomats\nCzech translators\nCharter 77 signatories\nAmbassadors of the Czech Republic to Russia\nGovernment ministers of Czechoslovakia\nRecipients of the Order of Tomáš Garrigue Masaryk\nPeople of the Velvet Revolution\n20th-century translators\nCivic Movement Government ministers\nCzech people of Jewish descent\nPoliticians from Kolín"
] |
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"Domino and Hurricane Katrina",
"What is domino?",
"President George W. Bush made a personal visit and replaced the National Medal of Arts that President Bill Clinton had previously awarded Domino.",
"why did he replace it?",
"As Hurricane Katrina approached New Orleans in August 2005, Domino chose to stay at home with his family, partly because his wife, Rosemary, was in poor health.",
"What was the result of this?",
"Domino was rumored to have died, and his home was vandalized when someone spray-painted the message \"RIP Fats. You will be missed\".",
"Did he actually die?",
"Later that day, CNN reported that Domino had been rescued by a Coast Guard helicopter.",
"how did they know where he was?",
"His house was in an area that was heavily flooded.",
"did his mother survive?",
"The Washington Post reported that on September 2, they had left Russell's apartment after sleeping three nights on the couch."
] |
C_59e99b9b46e44d24a78bee0859d4058a_0
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Where did they go?
| 7 |
Where did Fats Domino's family go during Hurricane Katrina?
|
Fats Domino
|
As Hurricane Katrina approached New Orleans in August 2005, Domino chose to stay at home with his family, partly because his wife, Rosemary, was in poor health. His house was in an area that was heavily flooded. Domino was rumored to have died, and his home was vandalized when someone spray-painted the message "RIP Fats. You will be missed". On September 1, the talent agent Al Embry announced that he had not heard from Domino since before the hurricane struck. Later that day, CNN reported that Domino had been rescued by a Coast Guard helicopter. Until then, even family members had not heard from him since before the storm. Embry confirmed that Domino and his family had been rescued. The family was then taken to a shelter in Baton Rouge, after which they were picked up by JaMarcus Russell, the starting quarterback of the Louisiana State University football team, and the boyfriend of Domino's granddaughter. He let the family stay in his apartment. The Washington Post reported that on September 2, they had left Russell's apartment after sleeping three nights on the couch. "We've lost everything," Domino said, according to the Post. By January 2006, work to gut and repair Domino's home and office had begun (see Reconstruction of New Orleans). In the meantime, the Domino family resided in Harvey, Louisiana. President George W. Bush made a personal visit and replaced the National Medal of Arts that President Bill Clinton had previously awarded Domino. The gold records were replaced by the RIAA and Capitol Records, which owned the Imperial Records catalogue. CANNOTANSWER
|
The family was then taken to a shelter in Baton Rouge, after which they were picked up by JaMarcus Russell,
|
Antoine Dominique Domino Jr. (February 26, 1928 – October 24, 2017), known as Fats Domino, was an American pianist and singer-songwriter. One of the pioneers of rock and roll music, Domino sold more than 65 million records. Born in New Orleans to a French Creole family, Domino signed to Imperial Records in 1949. His first single "The Fat Man" is cited by some historians as the first rock and roll single and the first to sell more than 1 million copies. Domino continued to work with the song's co-writer Dave Bartholomew, contributing his distinctive rolling piano style to Lloyd Price's "Lawdy Miss Clawdy" (1952) and scoring a string of mainstream hits beginning with "Ain't That a Shame" (1955). Between 1955 and 1960, he had eleven Top 10 US pop hits. By 1955, five of his records had sold more than a million copies, being certified gold.
Domino was shy and modest by nature but made a significant contribution to the rock and roll genre. Elvis Presley declared Domino a "huge influence on me when I started out" and described him as "the real king of rock 'n' roll". The artist himself did not define his work as rock and roll, saying of the genre "It wasn't anything but the same rhythm and blues I'd been playing down in New Orleans". Four of Domino's records were named to the Grammy Hall of Fame for their significance: "Blueberry Hill", "Ain't That A Shame", "Walking to New Orleans" and "The Fat Man". He was inducted into the Rock and Roll Hall of Fame as part of its first group of inductees in 1986. The Associated Press estimates that during his career, Domino "sold more than 110 million records".
Biography
Early life and education
Antoine Domino Jr. was born and raised in New Orleans, Louisiana, the youngest of eight children born to Antoine Caliste Domino (1879–1964) and Marie-Donatille Gros (1886–1971). The Domino family was of French Creole background, and Louisiana Creole was his first language. Like most such families, the Dominos were Catholic.
Antoine was born at home with the assistance of his grandmother, a midwife. His name was initially misspelled as Anthony on his birth certificate. His family had recently arrived in the Lower Ninth Ward from Vacherie, Louisiana. His father was a part-time violin player who worked at a racetrack.
He attended the Louis B. Macarty School, leaving to start work as a helper to an ice delivery man. Domino learned to play the piano in about 1938 from his brother-in-law, the jazz guitarist Harrison Verrett.
Early career (1940s)
By age 14, Domino was performing in New Orleans bars. In 1947, Billy Diamond, a New Orleans bandleader, accepted an invitation to hear the young pianist perform at a backyard barbecue. Domino played well enough that Diamond asked him to join his band, the Solid Senders, at the Hideaway Club in New Orleans, where he would earn $3 a week playing the piano. Diamond nicknamed him "Fats", because Domino reminded him of the renowned pianists Fats Waller and Fats Pichon, but also because of his large appetite.
Recordings for Imperial Records (1949–1962)
Domino was signed to the Imperial Records label in 1949 by owner Lew Chudd, to be paid royalties based on sales instead of a fee for each song. He and producer Dave Bartholomew wrote "The Fat Man", a toned down version of a song about drug addicts called "Junker Blues"; the record had sold a million copies by 1951. Featuring a rolling piano and Domino vocalizing "wah-wah" over a strong backbeat, "The Fat Man" is widely considered the first rock-and-roll record to achieve this level of sales. In 2015, the song would enter the Grammy Hall of Fame.
Domino released a series of hit songs with Bartholomew (also the co-writer of many of the songs), the saxophonists Herbert Hardesty and Alvin "Red" Tyler, the bassist Billy Diamond and later Frank Fields, and the drummers Earl Palmer and Smokey Johnson. Other notable and long-standing musicians in Domino's band were the saxophonists Reggie Houston, Lee Allen, and Fred Kemp, Domino's trusted bandleader.
While Domino's own recordings were done for Imperial, he sometimes sat in during that time as a session musician on recordings by other artists for other record labels. Domino's rolling piano triplets provided the memorable instrumental introduction for Lloyd Price's first hit, "Lawdy Miss Clawdy", recorded for Specialty Records on March 13, 1952, at Cosimo Matassa's J&M Studios in New Orleans (where Domino himself had earlier recorded "The Fat Man" and other songs). Dave Bartholomew was producing Price's record, which also featured familiar Domino collaborators Hardesty, Fields and Palmer as sidemen, and he asked Domino to play the piano part, replacing the original session pianist.
Domino crossed into the pop mainstream with "Ain't That a Shame" (mislabeled as "Ain't It a Shame") which reached the Top Ten. This was the first of his records to appear on the Billboard pop singles chart (on July 16, 1955), with the debut at number 14. A milder cover version by Pat Boone reached number 1, having received wider radio airplay in an era of racial segregation. In 1955, Domino was said to be earning $10,000 a week while touring, according to a report in the memoir of artist Chuck Berry. Domino eventually had 37 Top 40 singles, but none made it to number 1 on the Pop chart.
Domino's debut album contained several of his recent hits and earlier blues tracks that had not been released as singles, and was issued on the Imperial label (catalogue number 9009) in November 1955, and was reissued as Rock and Rollin' with Fats Domino. The reissue reached number 17 on the Billboard Pop Albums chart.
His 1956 recording of "Blueberry Hill", a 1940 song by Vincent Rose, Al Lewis and Larry Stock (which had previously been recorded by Gene Autry, Louis Armstrong and others), reached number 2 on the Billboard Juke Box chart for two weeks and was number 1 on the R&B chart for 11 weeks. It was his biggest hit, selling more than 5 million copies worldwide in 1956 and 1957. The song was subsequently recorded by Elvis Presley, Little Richard, and Led Zeppelin. Some 32 years later, the song would enter the
Grammy Hall of Fame.
Domino had further hit singles between 1956 and 1959, including "When My Dreamboat Comes Home" (Pop number 14), "I'm Walkin'" (Pop number 4), "Valley of Tears" (Pop number 8), "It's You I Love" (Pop number 6), "Whole Lotta Lovin'" (Pop number 6), "I Want to Walk You Home" (Pop number 8), and "Be My Guest" (Pop number 8). In 1957, Domino maintained "What they call rock 'n' roll now is rhythm and blues. I've been playing it for 15 years in New Orleans".
Domino appeared in two films released in 1956: Shake, Rattle & Rock! and The Girl Can't Help It. On December 18, 1957, his hit recording of "The Big Beat" was featured on Dick Clark's American Bandstand.
He was also featured in a movie of the same name.
On November 2, 1956, a riot broke out at a Domino concert in Fayetteville, North Carolina. The police used tear gas to break up the unruly crowd. Domino jumped out a window to avoid the melee; he and two members of his band were slightly injured. During his career, four major riots occurred at his concerts, "partly because of integration", according to his biographer Rick Coleman. "But also the fact they had alcohol at these shows. So they were mixing alcohol, plus dancing, plus the races together for the first time in a lot of these places." In November 1957, Domino appeared on The Ed Sullivan Show; no disturbance accompanied this performance.
In the same year, the article "King of Rock 'n' Roll" in Ebony magazine featured Domino who said he was on the road 340 days a year, up to $2,500 per evening, and grossing over $500,000; Domino also told readers that he owned 50 suits, 100 pairs of shoes and a $1,500 diamond horseshoe stick pin.
Domino had a steady series of hits for Imperial through early 1962, including "Walking to New Orleans" (1960, Pop number 6), co-written by Bobby Charles, and "My Girl Josephine" (Pop number 14) in the same year. He toured Europe in 1962 and met the Beatles who would later cite Domino as an inspiration. After returning, he played the first of his many stands in Las Vegas.
Imperial Records was sold in early 1963, and Domino left the label. "I stuck with them until they sold out," he said in 1979. In all, he recorded over 60 singles for Imperial, placing 40 songs in the top 10 on the R&B chart and 11 in the top 10 on the Pop chart, twenty-seven of which were double-sided hits.
Recordings after leaving Imperial (1963–1970s)
Domino moved to ABC-Paramount Records in 1963. The label dictated that he record in Nashville, Tennessee, rather than New Orleans. He was assigned a new producer (Felton Jarvis) and a new arranger (Bill Justis). Domino's long-term collaboration with the producer, arranger, and frequent co-writer Dave Bartholomew, who oversaw virtually all of his Imperial hits, was seemingly at an end. Jarvis and Justis changed the Domino sound somewhat, notably by adding the backing of a countrypolitan-style vocal chorus to most of his new recordings. He released 11 singles for ABC-Paramount, several which hit the Top 100 but just once entering the Top 40 ("Red Sails in the Sunset", 1963). By the end of 1964 the British Invasion had changed the tastes of the record-buying public, and Domino's chart run was over.
Despite the lack of chart success, Domino continued to record steadily until about 1970, leaving ABC-Paramount in mid-1965 and recording for Mercury Records, where he delivered a live album and two singles. A studio album was planned but stalled with just four tracks recorded. Dave Bartholomew's small Broadmoor label (reuniting with Bartholomew along the way), featured many contemporary Soul infused sides and a few single releases but an album was not released overseas until 1971 to fulfill his Reprise Records contract. He shifted to that label after Broadmoor and had a Top 100 single, a cover of the Beatles' "Lady Madonna".
Domino appeared in the Monkees' television special 33⅓ Revolutions per Monkee in 1969. In 1971, he opened for Ike & Tina Turner at Carnegie Hall. He continued to be popular as a performer for several decades. He made a cameo appearance in Clint Eastwood's movie Any Which Way You Can, filmed in 1979 and released in 1980, singing the country song "Whiskey Heaven", which later became a minor hit. His life and career were showcased in Joe Lauro's 2015 documentary The Big Beat: Fats Domino and the Birth of Rock 'n' Roll.
Later career (1980s–2005)
In 1986, Domino was one of the first musicians to be inducted into the Rock and Roll Hall of Fame. He also received the Grammy Lifetime Achievement Award in 1987. Domino's last album for a major label, Christmas Is a Special Day, was released in 1993.
Domino lived in a mansion in a predominantly working-class neighborhood in the Lower Ninth Ward, where he was a familiar sight in his bright pink Cadillac automobile. He made yearly appearances at the New Orleans Jazz & Heritage Festival and other local events.
His last tour was in Europe, for three weeks in 1995. After being ill while on tour, Domino decided he would no longer leave the New Orleans area, having a comfortable income from royalty payments and a dislike of touring and claiming he could not get any food that he liked anywhere else. In the same year, he received the Rhythm & Blues Foundation's Ray Charles Lifetime Achievement Award.
In 1998, President Bill Clinton awarded him the National Medal of Arts. Domino declined an invitation to perform at the White House.
In 2004, Rolling Stone magazine ranked him number 25 on its list of the "100 Greatest Artists of All Time" in an essay written by Dr. John.
Domino and Hurricane Katrina
As Hurricane Katrina approached New Orleans in August 2005, Domino chose to stay at home with his family, partly because his wife, Rosemary, was in poor health. His house was in an area that was heavily flooded.
Domino was rumored to have died, and his home was vandalized when someone spray-painted the message "RIP Fats. You will be missed". On September 1, the talent agent Al Embry announced that he had not heard from Domino since before the hurricane struck. Later that day, CNN reported that Domino had been rescued by a Coast Guard helicopter. Until then, even family members had not heard from him since before the storm. Embry confirmed that Domino and his family had been rescued. The family was then taken to a shelter in Baton Rouge, after which they were picked up by JaMarcus Russell, the starting quarterback of the Louisiana State University football team, and the boyfriend of Domino's granddaughter. He let the family stay in his apartment. The Washington Post reported that on September 2, they had left Russell's apartment after sleeping three nights on the couch. "We've lost everything," Domino said, according to the Post.
By January 2006, work to gut and repair Domino's home and office had begun (see Reconstruction of New Orleans). In the meantime, the Domino family resided in Harvey, Louisiana.
President George W. Bush made a personal visit and replaced the National Medal of Arts that President Bill Clinton had previously awarded Domino. The gold records were replaced by the RIAA and Capitol Records, which owned the Imperial Records catalogue.
Later life
Domino was scheduled to perform at the 2006 Jazz & Heritage Festival in New Orleans. However, he was suffering from anxiety and was forced to cancel the performance, but he did appear to offer the audience an on-stage greeting.
In 2006 Domino's album Alive and Kickin' was released to benefit the Tipitina's Foundation, which supports indigent local musicians and helps preserve the New Orleans sound. The album consists of unreleased recordings from the 1990s and received great critical acclaim.
On January 12, 2007, Domino was honored with OffBeat magazine's Lifetime Achievement Award at the annual Best of the Beat Awards, held at the House of Blues in New Orleans. New Orleans Mayor Ray Nagin declared the day "Fats Domino Day in New Orleans" and presented him with a signed declaration. Domino returned to stage on May 19, 2007, at Tipitina's at New Orleans, performing to a full house. This was his last public performance. The concert was recorded for a 2008 TV presentation entitled Fats Domino: Walkin' Back to New Orleans. This was a fund-raising concert, featuring a number of artists. Domino donated his fee to the cause. Later that year, a Vanguard record was released, Goin' Home: A Tribute to Fats Domino featuring his songs as recorded by Elton John, Neil Young, Tom Petty, Robert Plant, Willie Nelson, Norah Jones, Lenny Kravitz, and Lucinda Williams. A portion of the proceeds was to be used by the Foundation to help restore Domino's publishing office which had been damaged by the hurricane.
In September 2007, Domino was inducted into the Louisiana Music Hall of Fame.
In May 2009, Domino made an unexpected appearance in the audience for the Domino Effect, a concert featuring Little Richard and other artists, aimed at raising funds to help rebuild schools and playgrounds damaged by Hurricane Katrina.
In October 2012, Domino was featured in season three of the television series Treme, playing himself. On August 21, 2016, Domino was inducted into the National Rhythm and Blues Hall of Fame. The ceremony was held in Detroit, Michigan. The other inductees were Dionne Warwick, Cathy Hughes, Smokey Robinson, Prince, and the Supremes. He had received the Rhythm & Blues Foundation's Ray Charles Lifetime Achievement Award in 1995. His song "The Fat Man" entered the Grammy Hall of Fame in 2015.
Death
Domino died on October 24, 2017, at his home in Harvey, Louisiana, at the age of 89, from natural causes, according to the coroner's office.
Influence and legacy
Domino was one of the biggest stars of rock and roll in the 1950s, but he was not convinced that this was a new genre. In 1957, Domino said: "What they call rock 'n' roll now is rhythm and blues. I've been playing it for 15 years in New Orleans". According to Rolling Stone, "this is a valid statement ... all Fifties rockers, black and white, country born and city bred, were fundamentally influenced by R&B, the black popular music of the late Forties and early Fifties".
He was among the first R&B artists to gain popularity with white audiences. His biographer Rick Coleman argues that Domino's records and tours with rock-and-roll shows in that decade, bringing together black and white youths in a shared appreciation of his music, was a factor in the breakdown of racial segregation in the United States. The artist himself did not define his work as rock and roll, saying, "It wasn't anything but the same rhythm and blues I'd been playin' down in New Orleans."
Both John Lennon and Paul McCartney recorded Domino songs. According to some reports, McCartney wrote the Beatles song "Lady Madonna" in emulation of Domino's style, combining it with a nod to Humphrey Lyttelton's 1956 hit "Bad Penny Blues". Domino also recorded the song in 1968. Domino returned to the "Hot 100" chart for the last time in 1968, with his recording of "Lady Madonna". That recording, as well as covers of two other songs by the Beatles, appeared on his Reprise album Fats Is Back, produced by Richard Perry and with several hits recorded by a band that included the New Orleans pianist James Booker.
Domino was present in the audience of 2,200 people at Elvis Presley's first concert at the Las Vegas Hilton on July 31, 1969. At a press conference after the show, when a journalist referred to Presley as "The King", Presley gestured toward Domino, who was taking in the scene. "No," Presley said, "that's the real king of rock and roll." Presley made a subsequent comment, "rock 'n' roll was here a long time before I came along. Let's face it: I can't sing like Fats Domino can. I know that" and added that Domino was "a huge influence on me when I started out".
About a photograph made of him and Elvis together, Domino said: "Elvis told me he flopped the first time he came to Las Vegas. I loved his music. He could sing anything ... I'm glad we took this picture." (Fats Domino (2002). "Music Pioneer Fats Domino Talks About Elvis." Retrieved from "USA Today." December 10, 2002.)
Domino received a Grammy Lifetime Achievement Award in 1987.
John Lennon covered Domino's composition "Ain't That a Shame" on his 1975 album "Rock 'n' Roll," his tribute to the musicians who had influenced him.
American band Cheap Trick recorded "Ain't That a Shame" on their 1978 live album Cheap Trick at Budokan and released it as the second single from the album. It reached 35 of the Billboard Hot 100. Reportedly, this was Domino's favorite cover. It remains a staple of their live performances, including at their 25th Anniversary concert (which was recorded as the album and DVD Silver) and at their induction into the Rock and Roll Hall of Fame in 2016.
The Jamaican reggae artist Yellowman covered many songs by Domino, including "Be My Guest" and "Blueberry Hill."
Jah Wobble, a post-punk bassist best known for his work with Johnny Rotten, released a solo recording of "Blueberry Hill".
The Jamaican ska band Justin Hinds and the Dominoes, formed in the 1960s, was named after Domino, Hinds's favorite singer.
In 2007, various artists came together for a tribute to Domino, recording a live session containing only his songs. Musicians performing on the album, Goin' Home: A Tribute to Fats Domino, included Paul McCartney, Norah Jones, Willie Nelson, Neil Young, and Elton John.
According to Richie Unterberger, writing for AllMusic, Domino was one of the most consistent artists of early rock music, the best-selling African-American rock-and-roll star of the 1950s, and the most popular singer of the "classic" New Orleans rhythm and blues style. His million-selling debut single, "The Fat Man" (1949), is one of many that have been cited as the first rock and roll record. Robert Christgau wrote that Domino was "the most widely liked rock and roller of the '50s" and remarked on his influence:
Domino's rhythm, accentuating the offbeat, as in the song "Be My Guest", was an influence on ska music.
Personal life
Domino was married to Rosemary Domino ( Hall) from 1947 until her death in 2008; the couple had eight children: Antoine III (1950-2015), Anatole, Andre (1952-1997), Antonio, Antoinette, Andrea, Anola, and Adonica.
Even after his success he continued to live in his old neighborhood, the Lower Ninth Ward, until after Hurricane Katrina, when he moved to a suburb of New Orleans.
Discography
Fats Domino discography
List of songs recorded by Fats Domino
Studio albums
References
External links
Fats Domino at history-of-rock.com
Fats Domino: Walking to New Orleans special
1928 births
2017 deaths
African-American pianists
African-American rock musicians
American baritones
American blues pianists
American male pianists
American rock pianists
American rhythm and blues singers
American rock singers
Boogie-woogie pianists
Grammy Lifetime Achievement Award winners
Imperial Records artists
Louisiana Creole people
Rhythm and blues musicians from New Orleans
Rock and roll musicians
Songwriters from Louisiana
Stride pianists
United States National Medal of Arts recipients
Singers from Louisiana
People from Harvey, Louisiana
ABC Records artists
London Records artists
Mercury Records artists
Reprise Records artists
Warner Records artists
Male jazz musicians
African-American male singer-songwriters
African-American Catholics
20th-century African-American male singers
Singer-songwriters from Louisiana
| true |
[
"Where Did They Go is a 1971 album by Peggy Lee. It was arranged and conducted by Don Sebesky and Al Capps.\n\nTrack listing\n\"Where Did They Go\" (Harry Lloyd, Gloria Sklerov) - 3:53\n\"My Rock and Foundation\" (Burt Bacharach, Hal David) - 2:37\n\"Help Me Make It Through the Night\" (Kris Kristofferson) - 2:45\n\"All I Want\" (Steve Clayton [aka P. Tedesco], Gladys Shelley) - 2:40\n\"I Don't Know How to Love Him\" (Tim Rice, Andrew Lloyd Webber) - 3:24\n\"Goodbye Again\" (Donald J. Addrissi, Richard P. Addrissi) - 2:33\n\"Sing\" (Joe Raposo) - 2:25\n\"I Was Born in Love with You\" (Alan Bergman, Marilyn Bergman, Michel Legrand) - 4:01\n\"Losing My Mind\" (Stephen Sondheim) - 2:43\n\"My Sweet Lord\" (George Harrison) - 2:55\n\nNotes\nThe recording sessions for this album took place at the Capitol Tower in Hollywood, California.\n\nWhere Did They Go was Peggy Lee's first album not to make the Billboard 200 chart since her Grammy-winning hit \"Is That All There Is?\" in 1969.\n\nBurt Bacharach and Hal David wrote the song \"My Rock And Foundation\" specifically for Lee.\n\nCapitol Records released \"Where Did They Go\" (backed by \"All I Want\") as a 45\" single in 1971. The single did not make the charts.\n\nLee performed songs from this album, including \"Where Did They Go\" and \"My Sweet Lord,\" during her June 1971 engagement at The Frontier Hotel in Las Vegas, Nevada.\n\nAfter completing work on Where Did They Go, Peggy Lee did not return to the recording studio again until nearly a year later, when she began recording Norma Deloris Egstrom from Jamestown, North Dakota in April 1972.\n\nThis album was released on 8-track, along with LP.\n\nReferences\n\nExternal links \n Peggy Lee Discography\n\n1971 albums\nCapitol Records albums\nPeggy Lee albums\nAlbums arranged by Don Sebesky\nAlbums produced by Snuff Garrett",
"Where Did We Go Wrong may refer to:\n \"Where Did We Go Wrong\" (Dondria song), 2010\n \"Where Did We Go Wrong\" (Toni Braxton and Babyface song), 2013\n \"Where Did We Go Wrong\", a song by Petula Clark from the album My Love\n \"Where Did We Go Wrong\", a song by Diana Ross from the album Ross\n \"Where Did We Go Wrong\", a 1980 song by Frankie Valli"
] |
[
"Dan Rooney",
"James Harrison vs. Cedrick Wilson"
] |
C_d8423e1f67e340bca1b61c110b549c5a_1
|
What was the basis for Harrison vs Cedrick?
| 1 |
What was the basis for Harrison vs Cedrick?
|
Dan Rooney
|
On March 19, 2008; Rooney released wide receiver Cedrick Wilson from the Steelers, after he was arrested for punching his former girlfriend. However earlier that month, on March 8, Rooney failed to offer any type of discipline to linebacker James Harrison for slapping his girlfriend. When asked about the incident involving Wilson, Rooney stated that "the Steelers do not condone violence of any kind, especially against women,". However, he was then confronted about this by Ed Bouchette and Michael A. Fuoco of the Pittsburgh Post-Gazette, who asked why Harrison was not punished for committing the same crime. Rooney said that the cases were different and stated that "I know many are asking the question of [why] we released Wilson and Harrison we kept. The circumstances--I know of the incidents, they are completely different. In fact, when I say we don't condone these things, we don't, but we do have to look at the circumstances that are involved with other players and things like that, so they're not all the same. What James Harrison was doing and how the incident occurred, what he was trying to do was really well worth it. He was doing something that was good, wanted to take his son to get baptized where he lived and things like that. She said she didn't want to do it." Rooney later said that Harrison had no intention of harming his girlfriend when he went to her house to pick up his son. "The situation angered him. He didn't go there with intent." Meanwhile, Rooney stated that the Wilson case was different. According to Rooney "[Wilson] knew what he was doing. He knew where his [former] girlfriend was and went to the bar looking for her. When he got there he punched her. That's different and I understand he expressed no regret. Afterwards Rooney was criticized by the Women's Center and Shelter of Pittsburgh as a result of his comments. ESPN's Matt Mosley later wrote that Rooney's attempt to "explain that Harrison's heart was in the right place ... had to be one of the worst Public Relations moments in club history." CANNOTANSWER
|
March 19, 2008; Rooney released wide receiver Cedrick Wilson from the Steelers, after he was arrested for punching his former girlfriend.
|
Daniel Milton Rooney (July 20, 1932 – April 13, 2017) was an American executive and diplomat best known for his association with the Pittsburgh Steelers, an American football team in the National Football League (NFL), and son of the Steelers' founder, Art Rooney. He held various roles within the organization, most notably as president, owner and chairman.
Rooney implemented a philosophy and management style that emphasized open, practical and efficient management. The Steelers were very successful during his tenure, winning 15 division championships, eight AFC Championships, and an NFL record six Super Bowl Championships. In 2000, he was elected to the Pro Football Hall of Fame for his contributions to the game. He was also credited with spearheading a requirement that NFL teams with head coach and general manager vacancies interview at least one minority candidate, which has become known as the "Rooney Rule".
Outside of football, Rooney served as the United States Ambassador to Ireland, from July 2009 until his resignation in December 2012. He was also co-founder of the Ireland-related fundraising organization The Ireland Funds.
Early life and education
Daniel Milton Rooney was born in Pittsburgh, Pennsylvania, the son of Kathleen (née McNulty) and Pittsburgh Steelers' owner Art Rooney. In the Steelers organization, Rooney was involved in many aspects of the franchise from the time he was a young boy, often assisting his father at Pitt Stadium and Forbes Field. He grew up in the North Side neighborhood of Pittsburgh and attended North Catholic High School where he excelled as the team's quarterback. He was also the coach for the St. Peter's Elementary school football team, which was quarterbacked by future CIA Director and lifelong friend Michael Hayden. Rooney was mentored by Fran Fogerty, Joe Carr and Ed Kiely. These men assisted in teaching him the business of football. After graduating from Duquesne University, with his major in accounting, he knew football was what he wanted to pursue.
Career
In 1960, Rooney originally worked as director of personnel for the Steelers. By early 1969, Rooney was managing the day-to-day operations of the team and personally selected the coaching hire of Chuck Noll. Rooney was appointed team president in 1975 and was officially given full operational control of the franchise. His father remained Chairman and President Emeritus, as well as the public face of the franchise, until his death in 1988.
Rooney generally avoided the spotlight, but he was a very active owner behind the scenes. Rooney helped lead the negotiations of the collective bargaining agreement of 1982, and is largely credited both by owners and players of having ended a strike that lasted half of the season. He was also one of the main architects of the salary cap, which was implemented in 1993. Rooney became the patriarch and controlling owner of the team, following the death of his father. In 2003, Rooney followed in his father's footsteps by slowly ceding day-to-day operations of the franchise to the next generation of the family. While Rooney was still chairman, and to many fans, the public face of the team, his son Art Rooney II assumed full operational control of the Steelers.
In 1995, Rooney was influential in trying to stop the Steelers' biggest rival, the Cleveland Browns, from moving to Baltimore. Along with Buffalo Bills owner Ralph Wilson, he was the only owner to vote against the move and was a driving force in ensuring the Browns return to Cleveland in 1999.
Sale of the Steelers
On July 7, 2008, Rooney and his son, team president Art Rooney II, announced that they were seeking to buy out his brothers' shares in the team. The team initially said that some of Rooney's four brothers want to "get out of the NFL and focus their business efforts on their racetracks and other interests." The Wall Street Journal reported that the Steelers had "been secretly shopped to potential buyers amid continuing divisions among the five sons of the team's founder, Art Rooney Sr." This forced the Steelers to announce that prolonged, ongoing negotiations were under way concerning the "restructuring" of ownership, which could have resulted in the sale of the franchise or a consolidation of control within the Rooney family. Discussions had supposedly been taking place for the last two years. The use of the phrase "ensure compliance with NFL ownership policies" referred to the family's gambling operation. At the time of publication, they owned Yonkers Raceway, a harness racing track outside of New York City, and Palm Beach Kennel Club, a greyhound racetrack in West Palm Beach. The New York racetrack had been owned by the family since 1972, and the Florida racetrack had been owned since 1970. The team said "these facilities have added forms of gaming that are inconsistent with NFL gambling policy.", relating to the then-recent installation of slot machines. According to league policy, no NFL owner may own, directly or indirectly, any interests in a gambling casino. The NFL defines any facility with slot machines as a casino.
The Steelers' statement said that NFL commissioner Roger Goodell asked former NFL commissioner Paul Tagliabue to "serve as a league representative in discussions with the family in order to reach an agreement on the separation of the gambling interests and on a restructuring of ownership if the team is sold." Any sale involving an NFL team is subject to a league review and must be approved by 75% of member clubs. The Steelers were valued at $929 million by Forbes magazine in September 2007. However, Rooney's brothers: Art Jr., Tim, Patrick and John released a statement confirming that they retained Goldman, Sachs & Co. to put a price tag on the franchise, and analysts in New York placed its value between $800 million and $1.2 billion. Their shares were likely worth more than Dan and Art II had offered in the initial buyout, and it could have raised even higher and still remain under the NFL's ceiling of $150 million in ownership debt. Each Rooney brothers' stake was worth about $160 million, or less than Dan was believed to be offering. Art Jr. was the brother who might have determined if the majority of the team remains in the Rooney family. He was formerly a Pro Football Hall of Fame nominee for his drafting skills, and was fired by Dan in 1987. The brothers likely would not have retained Goldman Sachs if they felt they could soon work out a deal with Dan. The move also reflected on their fears that selling to Dan, coupled with the ensuing taxes, could leave their children and grandchildren with far less money than their shares are worth. There was also concern if any of the brothers were to die without a change in ownership, their heirs would face estate taxes of up to 45% of the shares' value. Rooney worked with Morgan Stanley and PNC Financial Services to attempt to bring in additional investors who might prop up his buyout attempt.
According to The Wall Street Journal, Duquesne Capital Management chairman Stanley Druckenmiller was apparently interested in acquiring the team. On July 8, The Associated Press reported that a deal could be reached within days to sell a majority interest in the Steelers to Druckenmiller, taking control of the franchise away from the Rooney family. However Rooney, stopped short of guaranteeing that he and his son, would be able to stay at the helm of a team. He hinted that "many people," not just Druckenmiller, might be interested in the NFL franchise. Later, NFL spokesman Greg Aiello stated that the NFL would continue to support the Rooneys in their efforts to retain control of the Steelers, and maintained the franchise would not relocate to another city, only that the ownership will either change or be consolidated.
On November 21, the Pittsburgh Post-Gazette reported that Tim and Pat planned to sell each of their 16% stake in the Steelers, so they could remain involved in racetracks and casinos in Yonkers and West Palm Beach. John and Art Jr. each planned to keep a little less than half of their 16% stake, and Dan and Art II, were trying to acquire 30% of the team to abide by NFL policy and compiled a list of investors who, in essence, would become their new partners in the franchise.
Controversies
James Harrison vs. Cedrick Wilson
On March 19, 2008, Rooney released wide receiver Cedrick Wilson from the Steelers, after he was arrested for punching his former girlfriend. However earlier that month, on March 8, Rooney failed to offer any type of discipline to linebacker James Harrison for slapping his girlfriend. When asked about the incident involving Wilson, Rooney stated that "the Steelers do not condone violence of any kind, especially against women". However, he was then confronted about this by Ed Bouchette and Michael A. Fuoco of the Pittsburgh Post-Gazette, who asked why Harrison was not punished for committing the same crime. Rooney said that the cases were different and stated that "I know many are asking the question of [why] we released Wilson and Harrison we kept. The circumstances—I know of the incidents, they are completely different. In fact, when I say we don't condone these things, we don't, but we do have to look at the circumstances that are involved with other players and things like that, so they're not all the same. What James Harrison was doing and how the incident occurred, what he was trying to do was really well worth it. He was doing something that was good, wanted to take his son to get baptized where he lived and things like that. She said she didn't want to do it."
Rooney later said that Harrison had no intention of harming his girlfriend when he went to her house to pick up his son. "The situation angered him. He didn't go there with intent." Meanwhile, Rooney stated that the Wilson case was different. According to Rooney "[Wilson] knew what he was doing. He knew where his [former] girlfriend was and went to the bar looking for her. When he got there he punched her. That's different and I understand he expressed no regret.
Afterwards, Rooney was criticized by the Women's Center and Shelter of Pittsburgh as a result of his comments. ESPN's Matt Mosley later wrote that Rooney's attempt to "explain that Harrison's heart was in the right place ... had to be one of the worst Public Relations moments in club history."
Steelers taxes and taxpayer funding
In August 2004, Pittsburgh Tribune-Review writer Bill Steigerwald reported that Rooney's team received $5 million in state funds for a new, $12 million amphitheater. This was in addition to the $158 million in public subsidies the organization received to build Heinz Field. Steigerwald wrote that: Since the Steelers don't own any taxable property, the Rooneys dodge city and county real estate taxes. Heinz Field, which the Steelers operate and profit from in myriad ways, is owned by taxpayers through the Sports and Exhibition Authority. The team offices, practice field and workout facilities are leased from UPMC's tax-exempt Sports Performance Complex. Steelers players pay payroll and occupation taxes like everyone else. Fans pay the 5 percent city amusement tax on each ticket. But the Steelers - like a few other profit-making corporations - aren't exempt from paying both a city mercantile tax (3 mills on concessions, etc.) and a city business privilege tax (6 mills on gross receipts). Tax officials say these taxes are highly complicated to compute – and the final amounts the Steelers pay are top secret.
Ambassador to Ireland
On March 17, 2009, President Obama announced he had nominated Rooney to become the next U.S. ambassador to Ireland, citing the owner's longstanding support for Irish-American charitable causes. In 2008, Rooney gave $30,000 to a Democratic Party committee that aided Obama's campaign, according to CQ MoneyLine, a non-partisan group that tracks political contributions. According to David Lewis, a Vanderbilt University political scientist and the author of The Politics of Presidential Appointments, "giving coveted ambassadorships to political supporters is a relatively low-risk way for presidents to repay campaign debts."
Secretary of State Hillary Clinton swore him in as the new ambassador to Ireland on July 1, 2009. Rooney presented his credentials to Irish President Mary McAleese on July 3, before making his first official speaking engagement at a lunch hosted by the American Chamber of Commerce Ireland.
In an April 2011 interview with The Irish Times, Rooney mentioned that he would consider resigning his ambassadorship in order to campaign for Obama's re-election. In a prepared statement released after that interview was published. Rooney stated, "I was asked what I could do to help [Obama] in the next election and I responded that the best thing I could do would be to help him campaign. Were I to do so, it would require my resignation as ambassador to Ireland. However, I am very pleased with my accomplishments to date and I intend to continue to carry out my duties." On December 14, 2012, he resigned as ambassador to Ireland and returned to Pittsburgh. He would eventually be replaced in June 2014 by Kevin O'Malley.
Personal life
Rooney was married to his wife Patricia Regan for sixty-five years. They first met in the office of the Steelers where she was working, and got married soon after. The couple had nine children together, although he was predeceased by two of his daughters. Rooney was also the maternal great-uncle of actresses Kate Mara and her sister Rooney Mara.
In 2008, he surprised many with his public endorsement of Barack Obama for president. The family had traditionally been very private on politics, even being rumored to have a Republican bent. Rooney responded to his public endorsement with: "When I think of Barack Obama's America I have great hope. I support his candidacy and look forward to his Presidency."
Rooney was the benefactor of the Rooney Prize for Irish Literature and Vice-Chairman of The American Ireland Fund. He was also a Founding Chairman of The Mentoring Partnership of Southwestern Pennsylvania. He was named to the PoliticsPA list of most influential individuals in Pennsylvania politics in 2002. In 2008, Rooney became an honorary Commander of the Most Excellent Order of the British Empire. He won the 2009 Jack Horrigan Memorial Award, presented by the Pro Football Writers Association to honor a league or club official "for his or her qualities and professional style in helping the pro football writers do their job." He was recognized in 2016 with a Lifetime Achievement Award from the Jackie Robinson Foundation.
Death
Rooney died at the age of 84 on April 13, 2017. Attendees at his funeral in Pittsburgh included former president Barack Obama and former secretary of state John Kerry. His burial was in Christ Our Redeemer Catholic Cemetery, Ross Township, Pennsylvania.
See also
List of U.S. political appointments that crossed party lines
References
External links
Biography for Ambassador Daniel M. Rooney – via archive.org
|-
|-
1932 births
2017 deaths
Ireland Funds
Ambassadors of the United States to Ireland
National Football League team presidents
Pittsburgh Steelers executives
Pittsburgh Steelers owners
Honorary Commanders of the Order of the British Empire
Pro Football Hall of Fame inductees
Duquesne University alumni
Pennsylvania Republicans
Sportspeople from Pittsburgh
Rooney family
American people of Irish descent
American Roman Catholics
| false |
[
"Cedrick Mabwati Gerard (born 8 March 1992), known simply as Cedrick, is a Congolese professional footballer who plays for Spanish club Real Avilés CF as a left winger.\n\nClub career\nBorn in Kinshasa, Cedrick arrived in Spain in his early teens, moving with his family from the Democratic Republic of the Congo and joining Atlético Madrid's youth system at the age of 13. He made his senior debut only three years later, going on to spend two full seasons with the reserves in the Segunda División B.\n\nOn 6 January 2010, not yet aged 18, Cedrick made his first-team debut with the Colchoneros, against Recreativo de Huelva in the round of 16 of Copa del Rey: after committing a penalty in the early minutes of the game, he was replaced shortly after by manager Quique Sánchez Flores in an eventual 0–3 away loss (5–4 aggregate win). In the ensuing summer, he was loaned to Segunda División club CD Numancia in a season-long move.\n\nCedrick was first choice during his three-year spell in Soria, scoring nine goals in his first season. On 10 June 2013, he bought out his contract with Numancia for a mere €1,20 and signed with Real Betis. He made his La Liga debut on 18 August by starting in a 1–2 defeat at Real Madrid, and totalled 1,129 minutes of action in 12 starts as the Andalusians were relegated.\n\nOn 28 August 2014, Cedrick was loaned to CA Osasuna also in division two. On 30 January of the following year, he signed for Major League Soccer's Columbus Crew SC, but remained on loan to the Navarrese until the end of the campaign.\n\nCedrick returned to Spain and its second tier on 27 December 2016, after agreeing to a six-month deal with UCAM Murcia CF.\n\nInternational career\nAged only 17, Cedrick started appearing with the DR Congo under-20s. He made his debut for the full team on 6 September 2014, starting in a 0–2 loss against Cameroon for the 2015 Africa Cup of Nations qualifying phase.\n\nCedrick played all six matches in the final stages in Equatorial Guinea, helping his country to the third place. In the last, against the hosts, he converted his penalty shoot-out attempt in a 4–2 win.\n\nHonours\nColumbus Crew\nEastern Conference: 2015\n\nDR Congo\nAfrica Cup of Nations third-place: 2015\n\nReferences\n\nExternal links\n\n1992 births\nLiving people\nFootballers from Kinshasa\nDemocratic Republic of the Congo footballers\nAssociation football wingers\nLa Liga players\nSegunda División players\nSegunda División B players\nTercera División players\nAtlético Madrid B players\nAtlético Madrid footballers\nCD Numancia players\nReal Betis players\nCA Osasuna players\nUCAM Murcia CF players\nInternacional de Madrid players\nCD Tudelano footballers\nReal Avilés footballers\nMajor League Soccer players\nColumbus Crew players\nDemocratic Republic of the Congo international footballers\n2015 Africa Cup of Nations players\nDemocratic Republic of the Congo expatriate footballers\nExpatriate footballers in Spain\nExpatriate soccer players in the United States\nDemocratic Republic of the Congo expatriate sportspeople in Spain\n21st-century Democratic Republic of the Congo people",
"Cedrick Ward Hardman (October 4, 1948 – March 8, 2019) was an American Football defensive end who played for the National Football League's San Francisco 49ers and Oakland Raiders and the United States Football League's Oakland Invaders. Hardman's thirteen-year professional football career lasted from 1970 to 1981 in the National Football League and ended as a player/coach in 1983 with the USFL's Oakland Invaders. Hardman held the record for most sacks in a season for the 49ers recording 18 sacks in only 14 games during his 1971 Pro Bowl season with the 49ers until 2012, when it was broken by Aldon Smith with 19.5.\n\nCollege\nHardman played college football at North Texas State University, (renamed the University of North Texas in 1988). Hardman was an All-Missouri Valley Conference football defensive lineman. In a historic manner, Hardman recorded 30 sacks in his senior season at North Texas State including an 11-sack performance in North Texas' 1969 Homecoming game against Tulsa. Hardman represented North Texas State in the Blue-Gray and Senior Bowl all-star games in 1970 earning defensive most valuable player honors after recording 4 sacks in each game. Including the all-star games, Hardman accounted for 38 sacks during his final year at North Texas.\n\nDuring his first two seasons in Denton, Hardman lined up on the same defense as future Pro Football Hall of Fame enshrinee \"Mean\" Joe Greene.\n\nCedrick started playing college football as a defensive back, then moved to linebacker in his sophomore season. His final two college years were spent playing defensive end. Hardman was drafted with the ninth overall selection in the first round of the 1970 NFL Draft by the San Francisco 49ers.\n\nProfessional career\n\nNFL career\nHardman is the current all-time sack leader for the San Francisco 49ers franchise, recording 107 sacks between 1970 and 1979 and he had with the Raiders in 1980 and 81 ( in 1980). The NFL did not start to officially recognize the sack until the 1982 season, unofficially, Hardman's career sacks ranks him tied with Clyde Simmons for 30th all-time. Hardman was a two-time Pro Bowler in 1971 and 1975 and he was a member of the Oakland Raiders Super Bowl XV winning team.\n\nUSFL career\nOn October 20, 1982, Hardman was the first player signed by the Oakland Invaders of newly formed United States Football League. \nHardman served as a player/coach during the team's inaugural 1983 division winning 9-9 season.\n\nActing career\n\nMovies\n House Party (1990) – Rock\n Stir Crazy (1980) – Big Mean\n The Candidate (1972) – Actor\n\nTelevision\nThe Fall Guy (1981) – Righteous (1 episode)\nThe Fall Guy: Part 1 (1981, as Cedrick Hardman) – Righteous\nPolice Woman (1975) – Large Man (1 episode)\nPolice Woman: \"The Company\" (1975, as Cedrick Hardman) – Large Man\nCriminal Minds: \"Blood Relations\" (2014) – Hand double\n\nPersonal life\nHardman is related to current NFL defensive tackle Jonathan Marshall of the New York Jets.\n\nReferences\n\nExternal links\n Cedrick Hardman's Official Website\n \n Cedrick Hardman on TV.com\n\n1948 births\n2019 deaths\nPlayers of American football from Houston\nAmerican football defensive ends\nBurials at Pacific View Memorial Park\nSan Francisco 49ers players\nOakland Raiders players\nNational Conference Pro Bowl players\nNorth Texas Mean Green football players\nOakland Invaders players"
] |
[
"Dan Rooney",
"James Harrison vs. Cedrick Wilson",
"What was the basis for Harrison vs Cedrick?",
"March 19, 2008; Rooney released wide receiver Cedrick Wilson from the Steelers, after he was arrested for punching his former girlfriend."
] |
C_d8423e1f67e340bca1b61c110b549c5a_1
|
Was Wilson arrested for this?
| 2 |
Was Wilson arrested for punching his former girlfriend?
|
Dan Rooney
|
On March 19, 2008; Rooney released wide receiver Cedrick Wilson from the Steelers, after he was arrested for punching his former girlfriend. However earlier that month, on March 8, Rooney failed to offer any type of discipline to linebacker James Harrison for slapping his girlfriend. When asked about the incident involving Wilson, Rooney stated that "the Steelers do not condone violence of any kind, especially against women,". However, he was then confronted about this by Ed Bouchette and Michael A. Fuoco of the Pittsburgh Post-Gazette, who asked why Harrison was not punished for committing the same crime. Rooney said that the cases were different and stated that "I know many are asking the question of [why] we released Wilson and Harrison we kept. The circumstances--I know of the incidents, they are completely different. In fact, when I say we don't condone these things, we don't, but we do have to look at the circumstances that are involved with other players and things like that, so they're not all the same. What James Harrison was doing and how the incident occurred, what he was trying to do was really well worth it. He was doing something that was good, wanted to take his son to get baptized where he lived and things like that. She said she didn't want to do it." Rooney later said that Harrison had no intention of harming his girlfriend when he went to her house to pick up his son. "The situation angered him. He didn't go there with intent." Meanwhile, Rooney stated that the Wilson case was different. According to Rooney "[Wilson] knew what he was doing. He knew where his [former] girlfriend was and went to the bar looking for her. When he got there he punched her. That's different and I understand he expressed no regret. Afterwards Rooney was criticized by the Women's Center and Shelter of Pittsburgh as a result of his comments. ESPN's Matt Mosley later wrote that Rooney's attempt to "explain that Harrison's heart was in the right place ... had to be one of the worst Public Relations moments in club history." CANNOTANSWER
|
March 8, Rooney failed to offer any type of discipline to linebacker James Harrison for slapping his girlfriend.
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Daniel Milton Rooney (July 20, 1932 – April 13, 2017) was an American executive and diplomat best known for his association with the Pittsburgh Steelers, an American football team in the National Football League (NFL), and son of the Steelers' founder, Art Rooney. He held various roles within the organization, most notably as president, owner and chairman.
Rooney implemented a philosophy and management style that emphasized open, practical and efficient management. The Steelers were very successful during his tenure, winning 15 division championships, eight AFC Championships, and an NFL record six Super Bowl Championships. In 2000, he was elected to the Pro Football Hall of Fame for his contributions to the game. He was also credited with spearheading a requirement that NFL teams with head coach and general manager vacancies interview at least one minority candidate, which has become known as the "Rooney Rule".
Outside of football, Rooney served as the United States Ambassador to Ireland, from July 2009 until his resignation in December 2012. He was also co-founder of the Ireland-related fundraising organization The Ireland Funds.
Early life and education
Daniel Milton Rooney was born in Pittsburgh, Pennsylvania, the son of Kathleen (née McNulty) and Pittsburgh Steelers' owner Art Rooney. In the Steelers organization, Rooney was involved in many aspects of the franchise from the time he was a young boy, often assisting his father at Pitt Stadium and Forbes Field. He grew up in the North Side neighborhood of Pittsburgh and attended North Catholic High School where he excelled as the team's quarterback. He was also the coach for the St. Peter's Elementary school football team, which was quarterbacked by future CIA Director and lifelong friend Michael Hayden. Rooney was mentored by Fran Fogerty, Joe Carr and Ed Kiely. These men assisted in teaching him the business of football. After graduating from Duquesne University, with his major in accounting, he knew football was what he wanted to pursue.
Career
In 1960, Rooney originally worked as director of personnel for the Steelers. By early 1969, Rooney was managing the day-to-day operations of the team and personally selected the coaching hire of Chuck Noll. Rooney was appointed team president in 1975 and was officially given full operational control of the franchise. His father remained Chairman and President Emeritus, as well as the public face of the franchise, until his death in 1988.
Rooney generally avoided the spotlight, but he was a very active owner behind the scenes. Rooney helped lead the negotiations of the collective bargaining agreement of 1982, and is largely credited both by owners and players of having ended a strike that lasted half of the season. He was also one of the main architects of the salary cap, which was implemented in 1993. Rooney became the patriarch and controlling owner of the team, following the death of his father. In 2003, Rooney followed in his father's footsteps by slowly ceding day-to-day operations of the franchise to the next generation of the family. While Rooney was still chairman, and to many fans, the public face of the team, his son Art Rooney II assumed full operational control of the Steelers.
In 1995, Rooney was influential in trying to stop the Steelers' biggest rival, the Cleveland Browns, from moving to Baltimore. Along with Buffalo Bills owner Ralph Wilson, he was the only owner to vote against the move and was a driving force in ensuring the Browns return to Cleveland in 1999.
Sale of the Steelers
On July 7, 2008, Rooney and his son, team president Art Rooney II, announced that they were seeking to buy out his brothers' shares in the team. The team initially said that some of Rooney's four brothers want to "get out of the NFL and focus their business efforts on their racetracks and other interests." The Wall Street Journal reported that the Steelers had "been secretly shopped to potential buyers amid continuing divisions among the five sons of the team's founder, Art Rooney Sr." This forced the Steelers to announce that prolonged, ongoing negotiations were under way concerning the "restructuring" of ownership, which could have resulted in the sale of the franchise or a consolidation of control within the Rooney family. Discussions had supposedly been taking place for the last two years. The use of the phrase "ensure compliance with NFL ownership policies" referred to the family's gambling operation. At the time of publication, they owned Yonkers Raceway, a harness racing track outside of New York City, and Palm Beach Kennel Club, a greyhound racetrack in West Palm Beach. The New York racetrack had been owned by the family since 1972, and the Florida racetrack had been owned since 1970. The team said "these facilities have added forms of gaming that are inconsistent with NFL gambling policy.", relating to the then-recent installation of slot machines. According to league policy, no NFL owner may own, directly or indirectly, any interests in a gambling casino. The NFL defines any facility with slot machines as a casino.
The Steelers' statement said that NFL commissioner Roger Goodell asked former NFL commissioner Paul Tagliabue to "serve as a league representative in discussions with the family in order to reach an agreement on the separation of the gambling interests and on a restructuring of ownership if the team is sold." Any sale involving an NFL team is subject to a league review and must be approved by 75% of member clubs. The Steelers were valued at $929 million by Forbes magazine in September 2007. However, Rooney's brothers: Art Jr., Tim, Patrick and John released a statement confirming that they retained Goldman, Sachs & Co. to put a price tag on the franchise, and analysts in New York placed its value between $800 million and $1.2 billion. Their shares were likely worth more than Dan and Art II had offered in the initial buyout, and it could have raised even higher and still remain under the NFL's ceiling of $150 million in ownership debt. Each Rooney brothers' stake was worth about $160 million, or less than Dan was believed to be offering. Art Jr. was the brother who might have determined if the majority of the team remains in the Rooney family. He was formerly a Pro Football Hall of Fame nominee for his drafting skills, and was fired by Dan in 1987. The brothers likely would not have retained Goldman Sachs if they felt they could soon work out a deal with Dan. The move also reflected on their fears that selling to Dan, coupled with the ensuing taxes, could leave their children and grandchildren with far less money than their shares are worth. There was also concern if any of the brothers were to die without a change in ownership, their heirs would face estate taxes of up to 45% of the shares' value. Rooney worked with Morgan Stanley and PNC Financial Services to attempt to bring in additional investors who might prop up his buyout attempt.
According to The Wall Street Journal, Duquesne Capital Management chairman Stanley Druckenmiller was apparently interested in acquiring the team. On July 8, The Associated Press reported that a deal could be reached within days to sell a majority interest in the Steelers to Druckenmiller, taking control of the franchise away from the Rooney family. However Rooney, stopped short of guaranteeing that he and his son, would be able to stay at the helm of a team. He hinted that "many people," not just Druckenmiller, might be interested in the NFL franchise. Later, NFL spokesman Greg Aiello stated that the NFL would continue to support the Rooneys in their efforts to retain control of the Steelers, and maintained the franchise would not relocate to another city, only that the ownership will either change or be consolidated.
On November 21, the Pittsburgh Post-Gazette reported that Tim and Pat planned to sell each of their 16% stake in the Steelers, so they could remain involved in racetracks and casinos in Yonkers and West Palm Beach. John and Art Jr. each planned to keep a little less than half of their 16% stake, and Dan and Art II, were trying to acquire 30% of the team to abide by NFL policy and compiled a list of investors who, in essence, would become their new partners in the franchise.
Controversies
James Harrison vs. Cedrick Wilson
On March 19, 2008, Rooney released wide receiver Cedrick Wilson from the Steelers, after he was arrested for punching his former girlfriend. However earlier that month, on March 8, Rooney failed to offer any type of discipline to linebacker James Harrison for slapping his girlfriend. When asked about the incident involving Wilson, Rooney stated that "the Steelers do not condone violence of any kind, especially against women". However, he was then confronted about this by Ed Bouchette and Michael A. Fuoco of the Pittsburgh Post-Gazette, who asked why Harrison was not punished for committing the same crime. Rooney said that the cases were different and stated that "I know many are asking the question of [why] we released Wilson and Harrison we kept. The circumstances—I know of the incidents, they are completely different. In fact, when I say we don't condone these things, we don't, but we do have to look at the circumstances that are involved with other players and things like that, so they're not all the same. What James Harrison was doing and how the incident occurred, what he was trying to do was really well worth it. He was doing something that was good, wanted to take his son to get baptized where he lived and things like that. She said she didn't want to do it."
Rooney later said that Harrison had no intention of harming his girlfriend when he went to her house to pick up his son. "The situation angered him. He didn't go there with intent." Meanwhile, Rooney stated that the Wilson case was different. According to Rooney "[Wilson] knew what he was doing. He knew where his [former] girlfriend was and went to the bar looking for her. When he got there he punched her. That's different and I understand he expressed no regret.
Afterwards, Rooney was criticized by the Women's Center and Shelter of Pittsburgh as a result of his comments. ESPN's Matt Mosley later wrote that Rooney's attempt to "explain that Harrison's heart was in the right place ... had to be one of the worst Public Relations moments in club history."
Steelers taxes and taxpayer funding
In August 2004, Pittsburgh Tribune-Review writer Bill Steigerwald reported that Rooney's team received $5 million in state funds for a new, $12 million amphitheater. This was in addition to the $158 million in public subsidies the organization received to build Heinz Field. Steigerwald wrote that: Since the Steelers don't own any taxable property, the Rooneys dodge city and county real estate taxes. Heinz Field, which the Steelers operate and profit from in myriad ways, is owned by taxpayers through the Sports and Exhibition Authority. The team offices, practice field and workout facilities are leased from UPMC's tax-exempt Sports Performance Complex. Steelers players pay payroll and occupation taxes like everyone else. Fans pay the 5 percent city amusement tax on each ticket. But the Steelers - like a few other profit-making corporations - aren't exempt from paying both a city mercantile tax (3 mills on concessions, etc.) and a city business privilege tax (6 mills on gross receipts). Tax officials say these taxes are highly complicated to compute – and the final amounts the Steelers pay are top secret.
Ambassador to Ireland
On March 17, 2009, President Obama announced he had nominated Rooney to become the next U.S. ambassador to Ireland, citing the owner's longstanding support for Irish-American charitable causes. In 2008, Rooney gave $30,000 to a Democratic Party committee that aided Obama's campaign, according to CQ MoneyLine, a non-partisan group that tracks political contributions. According to David Lewis, a Vanderbilt University political scientist and the author of The Politics of Presidential Appointments, "giving coveted ambassadorships to political supporters is a relatively low-risk way for presidents to repay campaign debts."
Secretary of State Hillary Clinton swore him in as the new ambassador to Ireland on July 1, 2009. Rooney presented his credentials to Irish President Mary McAleese on July 3, before making his first official speaking engagement at a lunch hosted by the American Chamber of Commerce Ireland.
In an April 2011 interview with The Irish Times, Rooney mentioned that he would consider resigning his ambassadorship in order to campaign for Obama's re-election. In a prepared statement released after that interview was published. Rooney stated, "I was asked what I could do to help [Obama] in the next election and I responded that the best thing I could do would be to help him campaign. Were I to do so, it would require my resignation as ambassador to Ireland. However, I am very pleased with my accomplishments to date and I intend to continue to carry out my duties." On December 14, 2012, he resigned as ambassador to Ireland and returned to Pittsburgh. He would eventually be replaced in June 2014 by Kevin O'Malley.
Personal life
Rooney was married to his wife Patricia Regan for sixty-five years. They first met in the office of the Steelers where she was working, and got married soon after. The couple had nine children together, although he was predeceased by two of his daughters. Rooney was also the maternal great-uncle of actresses Kate Mara and her sister Rooney Mara.
In 2008, he surprised many with his public endorsement of Barack Obama for president. The family had traditionally been very private on politics, even being rumored to have a Republican bent. Rooney responded to his public endorsement with: "When I think of Barack Obama's America I have great hope. I support his candidacy and look forward to his Presidency."
Rooney was the benefactor of the Rooney Prize for Irish Literature and Vice-Chairman of The American Ireland Fund. He was also a Founding Chairman of The Mentoring Partnership of Southwestern Pennsylvania. He was named to the PoliticsPA list of most influential individuals in Pennsylvania politics in 2002. In 2008, Rooney became an honorary Commander of the Most Excellent Order of the British Empire. He won the 2009 Jack Horrigan Memorial Award, presented by the Pro Football Writers Association to honor a league or club official "for his or her qualities and professional style in helping the pro football writers do their job." He was recognized in 2016 with a Lifetime Achievement Award from the Jackie Robinson Foundation.
Death
Rooney died at the age of 84 on April 13, 2017. Attendees at his funeral in Pittsburgh included former president Barack Obama and former secretary of state John Kerry. His burial was in Christ Our Redeemer Catholic Cemetery, Ross Township, Pennsylvania.
See also
List of U.S. political appointments that crossed party lines
References
External links
Biography for Ambassador Daniel M. Rooney – via archive.org
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1932 births
2017 deaths
Ireland Funds
Ambassadors of the United States to Ireland
National Football League team presidents
Pittsburgh Steelers executives
Pittsburgh Steelers owners
Honorary Commanders of the Order of the British Empire
Pro Football Hall of Fame inductees
Duquesne University alumni
Pennsylvania Republicans
Sportspeople from Pittsburgh
Rooney family
American people of Irish descent
American Roman Catholics
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[
"Stanley Tobias Wilson Jr. (born November 5, 1982) is a former American football cornerback in the National Football League. He was drafted by the Detroit Lions in the third round of the 2005 NFL Draft. He played college football at Stanford.\n\nEarly life\nThe son of former Cincinnati Bengals running back Stanley Wilson Sr., Stanley Jr. grew up in Carson, California with his grandparents and attended Bishop Montgomery High School in Torrance.\n\nCollege career\nRecruited by Tyrone Willingham, Wilson enrolled at Stanford University in 2000. After redshirting his true freshman season, Wilson played four seasons on the Stanford Cardinal football team from 2001 to 2004, the last three under coach Walt Harris. Wilson became a regular starter as a sophomore in 2002, with 32 tackles (27 solo) and two interceptions. In 2003, Wilson had 27 tackles, six passes defended, and one interception. As a senior in 2004, Wilson recorded career highs with 54 tackles (41 solo and 2.5 for loss) and five passes defended, in addition to one interception returned for 51 yards, and earned honorable mention All-Pac-10 honors.\n\nProfessional career\nIn the 2005 NFL draft, the Detroit Lions picked Wilson in the third round (72nd overall). Wilson's NFL career lasted from 2005 to 2007, all with the Lions. In 32 games (nine starts) in the NFL, Wilson had 86 tackles (63 solo), eight passes deflected, and one forced fumble. On November 28, 2007, Wilson was placed on injured reserve due to a knee injury.\n\nThe Lions re-signed Wilson to a one-year deal on April 11, 2008. However, Wilson tore his Achilles tendon during an exhibition game against the New York Giants on August 7, an injury later revealed to be career-ending.\n\nLegal issues\nOn June 22, 2016, Wilson was shot by an elderly homeowner in Portland, Oregon, after Wilson attempted to break into the man's home while naked. He was hospitalized but recovered from his injuries and was charged with attempted burglary. In November 2016, Wilson tested positive for methamphetamines. He was arrested again in Portland on January 10, 2017, while again nude; the arresting officer noted he appeared to be on drugs when he was caught roaming naked around another neighborhood.\nOn February 13, 2017, Wilson was sentenced to 10 days in jail with three years of probation for the June incident where he was shot; the judge also ordered him to undergo drug treatment, pay restitution for damages caused to homes, and write apology letters. On February 18, 2017, Wilson was arrested naked a third time allegedly attempting to burglarize a home.\n\nReferences\n\nExternal links\nDetroit Lions bio\nStanford Cardinal bio\n\n1982 births\nLiving people\nPeople from Carson, California\nAfrican-American players of American football\nAmerican football cornerbacks\nStanford Cardinal football players\nDetroit Lions players\nPlayers of American football from California\n21st-century African-American sportspeople\n20th-century African-American people",
"Katharine A. Morey was an American Suffragist, Silent Sentinel, officer of the Massachusetts State Branch of the National Woman's Party, and a member of the NWP Advisory Council. She and Lucy Burns were the first two American women to be arrested in front of the White House for the cause of women's suffrage. \n\nIn 1917, Morey joined with other National Women's Party picketers protesting outside the White House, in Washington, D.C. The picketers were known as \"Silent Sentinels.\" The protests were organized to pressure U.S. President Woodrow Wilson to use his influence to move the 19th Amendment forward in Congress. Over the course of several months, picketers endured inclement weather, and attacks by mobs. \n\nOn June 22, Morey and fellow suffragist Lucy Burns were picketing Pennsylvania Avenue, when they were surrounded by police who demanded they turn over their sign, which read, \"‘We shall fight for the things we have always carried nearest our hearts – for democracy, for the right of those who submit to authority to have a voice in their Government.’ President Wilson’s War Message, April 2nd, 1917.\" The two women refused to relinquish their pickets, knowing they would be arrested. Morey and Burns were sentenced for blocking traffic. Morey served three days in jail. Later that year, after picketing the White House on Nov. 10, 1917, she was sentenced to 30 days at District Jail and Occoquan Workhouse.\n\nIn February 1919, she was arrested in Boston, Massachusetts, after protesting against a parade held in honor of President Woodrow Wilson's visit at the Massachusetts State House. She was sentenced to and served eight days at the Charles St. Jail. \n\nMorey was also known for speaking at the \"Suffrage Special\" speaking tour of 1916.\n\nPersonal life \nMorey's mother, Agnes H. Morey, was also a suffragist activist.\n\nReferences\n\nExternal link\n\nAmerican suffragists"
] |
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"Dan Rooney",
"James Harrison vs. Cedrick Wilson",
"What was the basis for Harrison vs Cedrick?",
"March 19, 2008; Rooney released wide receiver Cedrick Wilson from the Steelers, after he was arrested for punching his former girlfriend.",
"Was Wilson arrested for this?",
"March 8, Rooney failed to offer any type of discipline to linebacker James Harrison for slapping his girlfriend."
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C_d8423e1f67e340bca1b61c110b549c5a_1
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Did the case go to court?
| 3 |
Did the Wilson assault case go to court?
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Dan Rooney
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On March 19, 2008; Rooney released wide receiver Cedrick Wilson from the Steelers, after he was arrested for punching his former girlfriend. However earlier that month, on March 8, Rooney failed to offer any type of discipline to linebacker James Harrison for slapping his girlfriend. When asked about the incident involving Wilson, Rooney stated that "the Steelers do not condone violence of any kind, especially against women,". However, he was then confronted about this by Ed Bouchette and Michael A. Fuoco of the Pittsburgh Post-Gazette, who asked why Harrison was not punished for committing the same crime. Rooney said that the cases were different and stated that "I know many are asking the question of [why] we released Wilson and Harrison we kept. The circumstances--I know of the incidents, they are completely different. In fact, when I say we don't condone these things, we don't, but we do have to look at the circumstances that are involved with other players and things like that, so they're not all the same. What James Harrison was doing and how the incident occurred, what he was trying to do was really well worth it. He was doing something that was good, wanted to take his son to get baptized where he lived and things like that. She said she didn't want to do it." Rooney later said that Harrison had no intention of harming his girlfriend when he went to her house to pick up his son. "The situation angered him. He didn't go there with intent." Meanwhile, Rooney stated that the Wilson case was different. According to Rooney "[Wilson] knew what he was doing. He knew where his [former] girlfriend was and went to the bar looking for her. When he got there he punched her. That's different and I understand he expressed no regret. Afterwards Rooney was criticized by the Women's Center and Shelter of Pittsburgh as a result of his comments. ESPN's Matt Mosley later wrote that Rooney's attempt to "explain that Harrison's heart was in the right place ... had to be one of the worst Public Relations moments in club history." CANNOTANSWER
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When asked about the incident involving Wilson, Rooney stated that "the Steelers do not condone violence of any kind, especially against women,".
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Daniel Milton Rooney (July 20, 1932 – April 13, 2017) was an American executive and diplomat best known for his association with the Pittsburgh Steelers, an American football team in the National Football League (NFL), and son of the Steelers' founder, Art Rooney. He held various roles within the organization, most notably as president, owner and chairman.
Rooney implemented a philosophy and management style that emphasized open, practical and efficient management. The Steelers were very successful during his tenure, winning 15 division championships, eight AFC Championships, and an NFL record six Super Bowl Championships. In 2000, he was elected to the Pro Football Hall of Fame for his contributions to the game. He was also credited with spearheading a requirement that NFL teams with head coach and general manager vacancies interview at least one minority candidate, which has become known as the "Rooney Rule".
Outside of football, Rooney served as the United States Ambassador to Ireland, from July 2009 until his resignation in December 2012. He was also co-founder of the Ireland-related fundraising organization The Ireland Funds.
Early life and education
Daniel Milton Rooney was born in Pittsburgh, Pennsylvania, the son of Kathleen (née McNulty) and Pittsburgh Steelers' owner Art Rooney. In the Steelers organization, Rooney was involved in many aspects of the franchise from the time he was a young boy, often assisting his father at Pitt Stadium and Forbes Field. He grew up in the North Side neighborhood of Pittsburgh and attended North Catholic High School where he excelled as the team's quarterback. He was also the coach for the St. Peter's Elementary school football team, which was quarterbacked by future CIA Director and lifelong friend Michael Hayden. Rooney was mentored by Fran Fogerty, Joe Carr and Ed Kiely. These men assisted in teaching him the business of football. After graduating from Duquesne University, with his major in accounting, he knew football was what he wanted to pursue.
Career
In 1960, Rooney originally worked as director of personnel for the Steelers. By early 1969, Rooney was managing the day-to-day operations of the team and personally selected the coaching hire of Chuck Noll. Rooney was appointed team president in 1975 and was officially given full operational control of the franchise. His father remained Chairman and President Emeritus, as well as the public face of the franchise, until his death in 1988.
Rooney generally avoided the spotlight, but he was a very active owner behind the scenes. Rooney helped lead the negotiations of the collective bargaining agreement of 1982, and is largely credited both by owners and players of having ended a strike that lasted half of the season. He was also one of the main architects of the salary cap, which was implemented in 1993. Rooney became the patriarch and controlling owner of the team, following the death of his father. In 2003, Rooney followed in his father's footsteps by slowly ceding day-to-day operations of the franchise to the next generation of the family. While Rooney was still chairman, and to many fans, the public face of the team, his son Art Rooney II assumed full operational control of the Steelers.
In 1995, Rooney was influential in trying to stop the Steelers' biggest rival, the Cleveland Browns, from moving to Baltimore. Along with Buffalo Bills owner Ralph Wilson, he was the only owner to vote against the move and was a driving force in ensuring the Browns return to Cleveland in 1999.
Sale of the Steelers
On July 7, 2008, Rooney and his son, team president Art Rooney II, announced that they were seeking to buy out his brothers' shares in the team. The team initially said that some of Rooney's four brothers want to "get out of the NFL and focus their business efforts on their racetracks and other interests." The Wall Street Journal reported that the Steelers had "been secretly shopped to potential buyers amid continuing divisions among the five sons of the team's founder, Art Rooney Sr." This forced the Steelers to announce that prolonged, ongoing negotiations were under way concerning the "restructuring" of ownership, which could have resulted in the sale of the franchise or a consolidation of control within the Rooney family. Discussions had supposedly been taking place for the last two years. The use of the phrase "ensure compliance with NFL ownership policies" referred to the family's gambling operation. At the time of publication, they owned Yonkers Raceway, a harness racing track outside of New York City, and Palm Beach Kennel Club, a greyhound racetrack in West Palm Beach. The New York racetrack had been owned by the family since 1972, and the Florida racetrack had been owned since 1970. The team said "these facilities have added forms of gaming that are inconsistent with NFL gambling policy.", relating to the then-recent installation of slot machines. According to league policy, no NFL owner may own, directly or indirectly, any interests in a gambling casino. The NFL defines any facility with slot machines as a casino.
The Steelers' statement said that NFL commissioner Roger Goodell asked former NFL commissioner Paul Tagliabue to "serve as a league representative in discussions with the family in order to reach an agreement on the separation of the gambling interests and on a restructuring of ownership if the team is sold." Any sale involving an NFL team is subject to a league review and must be approved by 75% of member clubs. The Steelers were valued at $929 million by Forbes magazine in September 2007. However, Rooney's brothers: Art Jr., Tim, Patrick and John released a statement confirming that they retained Goldman, Sachs & Co. to put a price tag on the franchise, and analysts in New York placed its value between $800 million and $1.2 billion. Their shares were likely worth more than Dan and Art II had offered in the initial buyout, and it could have raised even higher and still remain under the NFL's ceiling of $150 million in ownership debt. Each Rooney brothers' stake was worth about $160 million, or less than Dan was believed to be offering. Art Jr. was the brother who might have determined if the majority of the team remains in the Rooney family. He was formerly a Pro Football Hall of Fame nominee for his drafting skills, and was fired by Dan in 1987. The brothers likely would not have retained Goldman Sachs if they felt they could soon work out a deal with Dan. The move also reflected on their fears that selling to Dan, coupled with the ensuing taxes, could leave their children and grandchildren with far less money than their shares are worth. There was also concern if any of the brothers were to die without a change in ownership, their heirs would face estate taxes of up to 45% of the shares' value. Rooney worked with Morgan Stanley and PNC Financial Services to attempt to bring in additional investors who might prop up his buyout attempt.
According to The Wall Street Journal, Duquesne Capital Management chairman Stanley Druckenmiller was apparently interested in acquiring the team. On July 8, The Associated Press reported that a deal could be reached within days to sell a majority interest in the Steelers to Druckenmiller, taking control of the franchise away from the Rooney family. However Rooney, stopped short of guaranteeing that he and his son, would be able to stay at the helm of a team. He hinted that "many people," not just Druckenmiller, might be interested in the NFL franchise. Later, NFL spokesman Greg Aiello stated that the NFL would continue to support the Rooneys in their efforts to retain control of the Steelers, and maintained the franchise would not relocate to another city, only that the ownership will either change or be consolidated.
On November 21, the Pittsburgh Post-Gazette reported that Tim and Pat planned to sell each of their 16% stake in the Steelers, so they could remain involved in racetracks and casinos in Yonkers and West Palm Beach. John and Art Jr. each planned to keep a little less than half of their 16% stake, and Dan and Art II, were trying to acquire 30% of the team to abide by NFL policy and compiled a list of investors who, in essence, would become their new partners in the franchise.
Controversies
James Harrison vs. Cedrick Wilson
On March 19, 2008, Rooney released wide receiver Cedrick Wilson from the Steelers, after he was arrested for punching his former girlfriend. However earlier that month, on March 8, Rooney failed to offer any type of discipline to linebacker James Harrison for slapping his girlfriend. When asked about the incident involving Wilson, Rooney stated that "the Steelers do not condone violence of any kind, especially against women". However, he was then confronted about this by Ed Bouchette and Michael A. Fuoco of the Pittsburgh Post-Gazette, who asked why Harrison was not punished for committing the same crime. Rooney said that the cases were different and stated that "I know many are asking the question of [why] we released Wilson and Harrison we kept. The circumstances—I know of the incidents, they are completely different. In fact, when I say we don't condone these things, we don't, but we do have to look at the circumstances that are involved with other players and things like that, so they're not all the same. What James Harrison was doing and how the incident occurred, what he was trying to do was really well worth it. He was doing something that was good, wanted to take his son to get baptized where he lived and things like that. She said she didn't want to do it."
Rooney later said that Harrison had no intention of harming his girlfriend when he went to her house to pick up his son. "The situation angered him. He didn't go there with intent." Meanwhile, Rooney stated that the Wilson case was different. According to Rooney "[Wilson] knew what he was doing. He knew where his [former] girlfriend was and went to the bar looking for her. When he got there he punched her. That's different and I understand he expressed no regret.
Afterwards, Rooney was criticized by the Women's Center and Shelter of Pittsburgh as a result of his comments. ESPN's Matt Mosley later wrote that Rooney's attempt to "explain that Harrison's heart was in the right place ... had to be one of the worst Public Relations moments in club history."
Steelers taxes and taxpayer funding
In August 2004, Pittsburgh Tribune-Review writer Bill Steigerwald reported that Rooney's team received $5 million in state funds for a new, $12 million amphitheater. This was in addition to the $158 million in public subsidies the organization received to build Heinz Field. Steigerwald wrote that: Since the Steelers don't own any taxable property, the Rooneys dodge city and county real estate taxes. Heinz Field, which the Steelers operate and profit from in myriad ways, is owned by taxpayers through the Sports and Exhibition Authority. The team offices, practice field and workout facilities are leased from UPMC's tax-exempt Sports Performance Complex. Steelers players pay payroll and occupation taxes like everyone else. Fans pay the 5 percent city amusement tax on each ticket. But the Steelers - like a few other profit-making corporations - aren't exempt from paying both a city mercantile tax (3 mills on concessions, etc.) and a city business privilege tax (6 mills on gross receipts). Tax officials say these taxes are highly complicated to compute – and the final amounts the Steelers pay are top secret.
Ambassador to Ireland
On March 17, 2009, President Obama announced he had nominated Rooney to become the next U.S. ambassador to Ireland, citing the owner's longstanding support for Irish-American charitable causes. In 2008, Rooney gave $30,000 to a Democratic Party committee that aided Obama's campaign, according to CQ MoneyLine, a non-partisan group that tracks political contributions. According to David Lewis, a Vanderbilt University political scientist and the author of The Politics of Presidential Appointments, "giving coveted ambassadorships to political supporters is a relatively low-risk way for presidents to repay campaign debts."
Secretary of State Hillary Clinton swore him in as the new ambassador to Ireland on July 1, 2009. Rooney presented his credentials to Irish President Mary McAleese on July 3, before making his first official speaking engagement at a lunch hosted by the American Chamber of Commerce Ireland.
In an April 2011 interview with The Irish Times, Rooney mentioned that he would consider resigning his ambassadorship in order to campaign for Obama's re-election. In a prepared statement released after that interview was published. Rooney stated, "I was asked what I could do to help [Obama] in the next election and I responded that the best thing I could do would be to help him campaign. Were I to do so, it would require my resignation as ambassador to Ireland. However, I am very pleased with my accomplishments to date and I intend to continue to carry out my duties." On December 14, 2012, he resigned as ambassador to Ireland and returned to Pittsburgh. He would eventually be replaced in June 2014 by Kevin O'Malley.
Personal life
Rooney was married to his wife Patricia Regan for sixty-five years. They first met in the office of the Steelers where she was working, and got married soon after. The couple had nine children together, although he was predeceased by two of his daughters. Rooney was also the maternal great-uncle of actresses Kate Mara and her sister Rooney Mara.
In 2008, he surprised many with his public endorsement of Barack Obama for president. The family had traditionally been very private on politics, even being rumored to have a Republican bent. Rooney responded to his public endorsement with: "When I think of Barack Obama's America I have great hope. I support his candidacy and look forward to his Presidency."
Rooney was the benefactor of the Rooney Prize for Irish Literature and Vice-Chairman of The American Ireland Fund. He was also a Founding Chairman of The Mentoring Partnership of Southwestern Pennsylvania. He was named to the PoliticsPA list of most influential individuals in Pennsylvania politics in 2002. In 2008, Rooney became an honorary Commander of the Most Excellent Order of the British Empire. He won the 2009 Jack Horrigan Memorial Award, presented by the Pro Football Writers Association to honor a league or club official "for his or her qualities and professional style in helping the pro football writers do their job." He was recognized in 2016 with a Lifetime Achievement Award from the Jackie Robinson Foundation.
Death
Rooney died at the age of 84 on April 13, 2017. Attendees at his funeral in Pittsburgh included former president Barack Obama and former secretary of state John Kerry. His burial was in Christ Our Redeemer Catholic Cemetery, Ross Township, Pennsylvania.
See also
List of U.S. political appointments that crossed party lines
References
External links
Biography for Ambassador Daniel M. Rooney – via archive.org
|-
|-
1932 births
2017 deaths
Ireland Funds
Ambassadors of the United States to Ireland
National Football League team presidents
Pittsburgh Steelers executives
Pittsburgh Steelers owners
Honorary Commanders of the Order of the British Empire
Pro Football Hall of Fame inductees
Duquesne University alumni
Pennsylvania Republicans
Sportspeople from Pittsburgh
Rooney family
American people of Irish descent
American Roman Catholics
| false |
[
"North Dakota State Board of Pharmacy v. Snyder's Drug Stores, Inc., 414 U.S. 156 (1973), held that a state statute, under which Snyder's had been denied a pharmacy operating permit because it was not majority owned by pharmacists, did not violate the Due Process Clause of the Fourteenth Amendment. The court overruled the decision of the North Dakota Supreme Court, which relied on the 1928 decision in Liggett Co. v. Baldridge to hold the statute unconstitutional.\n\nThe questions which were raised by the case were: (1) Does the U.S. Supreme Court have jurisdiction to decide the case, e.g. is it final; (2) was the statute in question constitutional. The Supreme Court answered both questions in the affirmative.\n\nWith respect to point (1), the State Board of Pharmacy, being a state agency, is bound by the decisions of the State Supreme Court. Absent an appeal to the U.S. Supreme Court, it has to abide by what its State's Supreme Court says regarding the constitutionality of a state law. While the State Supreme Court had remanded the case back to the Pharmacy Board for further proceedings, this did not mean the case was nonappealable. State law allows any party aggrieved by the decision to appeal it in court. Problem is, the board itself is not a party to the decision, but is the tribunal making the decision. Thus, under the law of its state, the Board's only options to be able to raise the constitutional question are either to defy its own state's Supreme Court and refuse to grant the license, thus causing Respondent Snyder's to go back into court again, or for the Board to appeal to the U.S. Supreme Court. Thus, since the Board really had nowhere to go to get relief, the U.S. Supreme Court does have standing to hear the case.\n\nWith respect to point (2), the case in Liggett regarded a state law that required 100% ownership by pharmacists. The law in this case required a licensee wanting to operate a pharmacy be either a pharmacist or a corporation where the majority of the stockholders were pharmacists. The owner of Snyder's Drug Stores was Red Owl, a supermarket chain, and it was not shown if the majority of the stockholders of Red Owl were pharmacists. It was a decision regarding substantive due process. However, the court's reasoning on substantive due process was not completely clear and not all of the justices agreed on how to decide the cases. As the point in requiring a pharmacy to be majority owned by pharmacists was to provide a higher degree of care and concern over the operation of a pharmacy, the court found the statute to be a constitutional use of legislative power which \"bears a real and substantial relation to the public health, safety, morals, or some other phase of the general welfare,\"\n\nSee also\n List of United States Supreme Court cases, volume 418\n\nReferences\n\nExternal links\n \n\nUnited States administrative case law\nUnited States Supreme Court cases\n1973 in United States case law\nUnited States substantive due process case law\n1973 in North Dakota\nLegal history of North Dakota\nUnited States Supreme Court cases of the Burger Court",
"Bell-Booth Group Ltd v Attorney-General [1989] 3 NZLR 148 is a leading New Zealand case regarding the legal concept of owing a duty of care in tort for negligence, which in this case was for defamation.\n\nBackground\nThe Bell-Booth Group marketed in New Zealand a fertiliser called \"Maxicrop\". Unfortunately, this fertiliser did not materially improve the growth of plants.\n\nThe Ministry of Agriculture conducted a trial on this fertiliser, which was partially funded by Bell-Booth, although it was agreed that this funding gave them no legal benefits.\n\nUltimately, the MAF trials found no material benefit to plant growth, and they released this information via the consumer affairs TV show Fair Go, which finally aired after several episodes were prevented from screening due to a court injunction.\n\nAs a result, sales of Maxicrop plummeted, and Bell-Booth sued both MAF and the New Zealand Broadcasting Commission for defamation, where the High Court awarded general damages of $25,000 against MAF.\n\nBell-Booth's contention is even though the 135-day trial revealed that Maxicrop \"didn't work\", that MAF owed them a duty of care for the trial research results to be released to them first, in order to take steps to mitigate any financial losses, rather than being released immediately to the public, via Fair Go, as they did.\n\nMAF appealed.\n\nDecision\nThe Court of Appeal reversed the High Court's earlier award of $25,000 in general damages, as MAF owed a duty of care to the agriculture industry, and the public in general and not to Bell-Booth.\n\nCourt of Appeal of New Zealand cases\nNew Zealand tort case law\n1989 in case law\n1989 in New Zealand law"
] |
[
"Dan Rooney",
"James Harrison vs. Cedrick Wilson",
"What was the basis for Harrison vs Cedrick?",
"March 19, 2008; Rooney released wide receiver Cedrick Wilson from the Steelers, after he was arrested for punching his former girlfriend.",
"Was Wilson arrested for this?",
"March 8, Rooney failed to offer any type of discipline to linebacker James Harrison for slapping his girlfriend.",
"Did the case go to court?",
"When asked about the incident involving Wilson, Rooney stated that \"the Steelers do not condone violence of any kind, especially against women,\"."
] |
C_d8423e1f67e340bca1b61c110b549c5a_1
|
How did either man respond to the allegations?
| 4 |
How did either Wilson or Rooney respond to the allegations?
|
Dan Rooney
|
On March 19, 2008; Rooney released wide receiver Cedrick Wilson from the Steelers, after he was arrested for punching his former girlfriend. However earlier that month, on March 8, Rooney failed to offer any type of discipline to linebacker James Harrison for slapping his girlfriend. When asked about the incident involving Wilson, Rooney stated that "the Steelers do not condone violence of any kind, especially against women,". However, he was then confronted about this by Ed Bouchette and Michael A. Fuoco of the Pittsburgh Post-Gazette, who asked why Harrison was not punished for committing the same crime. Rooney said that the cases were different and stated that "I know many are asking the question of [why] we released Wilson and Harrison we kept. The circumstances--I know of the incidents, they are completely different. In fact, when I say we don't condone these things, we don't, but we do have to look at the circumstances that are involved with other players and things like that, so they're not all the same. What James Harrison was doing and how the incident occurred, what he was trying to do was really well worth it. He was doing something that was good, wanted to take his son to get baptized where he lived and things like that. She said she didn't want to do it." Rooney later said that Harrison had no intention of harming his girlfriend when he went to her house to pick up his son. "The situation angered him. He didn't go there with intent." Meanwhile, Rooney stated that the Wilson case was different. According to Rooney "[Wilson] knew what he was doing. He knew where his [former] girlfriend was and went to the bar looking for her. When he got there he punched her. That's different and I understand he expressed no regret. Afterwards Rooney was criticized by the Women's Center and Shelter of Pittsburgh as a result of his comments. ESPN's Matt Mosley later wrote that Rooney's attempt to "explain that Harrison's heart was in the right place ... had to be one of the worst Public Relations moments in club history." CANNOTANSWER
|
Rooney said that the cases were different and stated that "I know many are asking the question of [why] we released Wilson and Harrison we kept.
|
Daniel Milton Rooney (July 20, 1932 – April 13, 2017) was an American executive and diplomat best known for his association with the Pittsburgh Steelers, an American football team in the National Football League (NFL), and son of the Steelers' founder, Art Rooney. He held various roles within the organization, most notably as president, owner and chairman.
Rooney implemented a philosophy and management style that emphasized open, practical and efficient management. The Steelers were very successful during his tenure, winning 15 division championships, eight AFC Championships, and an NFL record six Super Bowl Championships. In 2000, he was elected to the Pro Football Hall of Fame for his contributions to the game. He was also credited with spearheading a requirement that NFL teams with head coach and general manager vacancies interview at least one minority candidate, which has become known as the "Rooney Rule".
Outside of football, Rooney served as the United States Ambassador to Ireland, from July 2009 until his resignation in December 2012. He was also co-founder of the Ireland-related fundraising organization The Ireland Funds.
Early life and education
Daniel Milton Rooney was born in Pittsburgh, Pennsylvania, the son of Kathleen (née McNulty) and Pittsburgh Steelers' owner Art Rooney. In the Steelers organization, Rooney was involved in many aspects of the franchise from the time he was a young boy, often assisting his father at Pitt Stadium and Forbes Field. He grew up in the North Side neighborhood of Pittsburgh and attended North Catholic High School where he excelled as the team's quarterback. He was also the coach for the St. Peter's Elementary school football team, which was quarterbacked by future CIA Director and lifelong friend Michael Hayden. Rooney was mentored by Fran Fogerty, Joe Carr and Ed Kiely. These men assisted in teaching him the business of football. After graduating from Duquesne University, with his major in accounting, he knew football was what he wanted to pursue.
Career
In 1960, Rooney originally worked as director of personnel for the Steelers. By early 1969, Rooney was managing the day-to-day operations of the team and personally selected the coaching hire of Chuck Noll. Rooney was appointed team president in 1975 and was officially given full operational control of the franchise. His father remained Chairman and President Emeritus, as well as the public face of the franchise, until his death in 1988.
Rooney generally avoided the spotlight, but he was a very active owner behind the scenes. Rooney helped lead the negotiations of the collective bargaining agreement of 1982, and is largely credited both by owners and players of having ended a strike that lasted half of the season. He was also one of the main architects of the salary cap, which was implemented in 1993. Rooney became the patriarch and controlling owner of the team, following the death of his father. In 2003, Rooney followed in his father's footsteps by slowly ceding day-to-day operations of the franchise to the next generation of the family. While Rooney was still chairman, and to many fans, the public face of the team, his son Art Rooney II assumed full operational control of the Steelers.
In 1995, Rooney was influential in trying to stop the Steelers' biggest rival, the Cleveland Browns, from moving to Baltimore. Along with Buffalo Bills owner Ralph Wilson, he was the only owner to vote against the move and was a driving force in ensuring the Browns return to Cleveland in 1999.
Sale of the Steelers
On July 7, 2008, Rooney and his son, team president Art Rooney II, announced that they were seeking to buy out his brothers' shares in the team. The team initially said that some of Rooney's four brothers want to "get out of the NFL and focus their business efforts on their racetracks and other interests." The Wall Street Journal reported that the Steelers had "been secretly shopped to potential buyers amid continuing divisions among the five sons of the team's founder, Art Rooney Sr." This forced the Steelers to announce that prolonged, ongoing negotiations were under way concerning the "restructuring" of ownership, which could have resulted in the sale of the franchise or a consolidation of control within the Rooney family. Discussions had supposedly been taking place for the last two years. The use of the phrase "ensure compliance with NFL ownership policies" referred to the family's gambling operation. At the time of publication, they owned Yonkers Raceway, a harness racing track outside of New York City, and Palm Beach Kennel Club, a greyhound racetrack in West Palm Beach. The New York racetrack had been owned by the family since 1972, and the Florida racetrack had been owned since 1970. The team said "these facilities have added forms of gaming that are inconsistent with NFL gambling policy.", relating to the then-recent installation of slot machines. According to league policy, no NFL owner may own, directly or indirectly, any interests in a gambling casino. The NFL defines any facility with slot machines as a casino.
The Steelers' statement said that NFL commissioner Roger Goodell asked former NFL commissioner Paul Tagliabue to "serve as a league representative in discussions with the family in order to reach an agreement on the separation of the gambling interests and on a restructuring of ownership if the team is sold." Any sale involving an NFL team is subject to a league review and must be approved by 75% of member clubs. The Steelers were valued at $929 million by Forbes magazine in September 2007. However, Rooney's brothers: Art Jr., Tim, Patrick and John released a statement confirming that they retained Goldman, Sachs & Co. to put a price tag on the franchise, and analysts in New York placed its value between $800 million and $1.2 billion. Their shares were likely worth more than Dan and Art II had offered in the initial buyout, and it could have raised even higher and still remain under the NFL's ceiling of $150 million in ownership debt. Each Rooney brothers' stake was worth about $160 million, or less than Dan was believed to be offering. Art Jr. was the brother who might have determined if the majority of the team remains in the Rooney family. He was formerly a Pro Football Hall of Fame nominee for his drafting skills, and was fired by Dan in 1987. The brothers likely would not have retained Goldman Sachs if they felt they could soon work out a deal with Dan. The move also reflected on their fears that selling to Dan, coupled with the ensuing taxes, could leave their children and grandchildren with far less money than their shares are worth. There was also concern if any of the brothers were to die without a change in ownership, their heirs would face estate taxes of up to 45% of the shares' value. Rooney worked with Morgan Stanley and PNC Financial Services to attempt to bring in additional investors who might prop up his buyout attempt.
According to The Wall Street Journal, Duquesne Capital Management chairman Stanley Druckenmiller was apparently interested in acquiring the team. On July 8, The Associated Press reported that a deal could be reached within days to sell a majority interest in the Steelers to Druckenmiller, taking control of the franchise away from the Rooney family. However Rooney, stopped short of guaranteeing that he and his son, would be able to stay at the helm of a team. He hinted that "many people," not just Druckenmiller, might be interested in the NFL franchise. Later, NFL spokesman Greg Aiello stated that the NFL would continue to support the Rooneys in their efforts to retain control of the Steelers, and maintained the franchise would not relocate to another city, only that the ownership will either change or be consolidated.
On November 21, the Pittsburgh Post-Gazette reported that Tim and Pat planned to sell each of their 16% stake in the Steelers, so they could remain involved in racetracks and casinos in Yonkers and West Palm Beach. John and Art Jr. each planned to keep a little less than half of their 16% stake, and Dan and Art II, were trying to acquire 30% of the team to abide by NFL policy and compiled a list of investors who, in essence, would become their new partners in the franchise.
Controversies
James Harrison vs. Cedrick Wilson
On March 19, 2008, Rooney released wide receiver Cedrick Wilson from the Steelers, after he was arrested for punching his former girlfriend. However earlier that month, on March 8, Rooney failed to offer any type of discipline to linebacker James Harrison for slapping his girlfriend. When asked about the incident involving Wilson, Rooney stated that "the Steelers do not condone violence of any kind, especially against women". However, he was then confronted about this by Ed Bouchette and Michael A. Fuoco of the Pittsburgh Post-Gazette, who asked why Harrison was not punished for committing the same crime. Rooney said that the cases were different and stated that "I know many are asking the question of [why] we released Wilson and Harrison we kept. The circumstances—I know of the incidents, they are completely different. In fact, when I say we don't condone these things, we don't, but we do have to look at the circumstances that are involved with other players and things like that, so they're not all the same. What James Harrison was doing and how the incident occurred, what he was trying to do was really well worth it. He was doing something that was good, wanted to take his son to get baptized where he lived and things like that. She said she didn't want to do it."
Rooney later said that Harrison had no intention of harming his girlfriend when he went to her house to pick up his son. "The situation angered him. He didn't go there with intent." Meanwhile, Rooney stated that the Wilson case was different. According to Rooney "[Wilson] knew what he was doing. He knew where his [former] girlfriend was and went to the bar looking for her. When he got there he punched her. That's different and I understand he expressed no regret.
Afterwards, Rooney was criticized by the Women's Center and Shelter of Pittsburgh as a result of his comments. ESPN's Matt Mosley later wrote that Rooney's attempt to "explain that Harrison's heart was in the right place ... had to be one of the worst Public Relations moments in club history."
Steelers taxes and taxpayer funding
In August 2004, Pittsburgh Tribune-Review writer Bill Steigerwald reported that Rooney's team received $5 million in state funds for a new, $12 million amphitheater. This was in addition to the $158 million in public subsidies the organization received to build Heinz Field. Steigerwald wrote that: Since the Steelers don't own any taxable property, the Rooneys dodge city and county real estate taxes. Heinz Field, which the Steelers operate and profit from in myriad ways, is owned by taxpayers through the Sports and Exhibition Authority. The team offices, practice field and workout facilities are leased from UPMC's tax-exempt Sports Performance Complex. Steelers players pay payroll and occupation taxes like everyone else. Fans pay the 5 percent city amusement tax on each ticket. But the Steelers - like a few other profit-making corporations - aren't exempt from paying both a city mercantile tax (3 mills on concessions, etc.) and a city business privilege tax (6 mills on gross receipts). Tax officials say these taxes are highly complicated to compute – and the final amounts the Steelers pay are top secret.
Ambassador to Ireland
On March 17, 2009, President Obama announced he had nominated Rooney to become the next U.S. ambassador to Ireland, citing the owner's longstanding support for Irish-American charitable causes. In 2008, Rooney gave $30,000 to a Democratic Party committee that aided Obama's campaign, according to CQ MoneyLine, a non-partisan group that tracks political contributions. According to David Lewis, a Vanderbilt University political scientist and the author of The Politics of Presidential Appointments, "giving coveted ambassadorships to political supporters is a relatively low-risk way for presidents to repay campaign debts."
Secretary of State Hillary Clinton swore him in as the new ambassador to Ireland on July 1, 2009. Rooney presented his credentials to Irish President Mary McAleese on July 3, before making his first official speaking engagement at a lunch hosted by the American Chamber of Commerce Ireland.
In an April 2011 interview with The Irish Times, Rooney mentioned that he would consider resigning his ambassadorship in order to campaign for Obama's re-election. In a prepared statement released after that interview was published. Rooney stated, "I was asked what I could do to help [Obama] in the next election and I responded that the best thing I could do would be to help him campaign. Were I to do so, it would require my resignation as ambassador to Ireland. However, I am very pleased with my accomplishments to date and I intend to continue to carry out my duties." On December 14, 2012, he resigned as ambassador to Ireland and returned to Pittsburgh. He would eventually be replaced in June 2014 by Kevin O'Malley.
Personal life
Rooney was married to his wife Patricia Regan for sixty-five years. They first met in the office of the Steelers where she was working, and got married soon after. The couple had nine children together, although he was predeceased by two of his daughters. Rooney was also the maternal great-uncle of actresses Kate Mara and her sister Rooney Mara.
In 2008, he surprised many with his public endorsement of Barack Obama for president. The family had traditionally been very private on politics, even being rumored to have a Republican bent. Rooney responded to his public endorsement with: "When I think of Barack Obama's America I have great hope. I support his candidacy and look forward to his Presidency."
Rooney was the benefactor of the Rooney Prize for Irish Literature and Vice-Chairman of The American Ireland Fund. He was also a Founding Chairman of The Mentoring Partnership of Southwestern Pennsylvania. He was named to the PoliticsPA list of most influential individuals in Pennsylvania politics in 2002. In 2008, Rooney became an honorary Commander of the Most Excellent Order of the British Empire. He won the 2009 Jack Horrigan Memorial Award, presented by the Pro Football Writers Association to honor a league or club official "for his or her qualities and professional style in helping the pro football writers do their job." He was recognized in 2016 with a Lifetime Achievement Award from the Jackie Robinson Foundation.
Death
Rooney died at the age of 84 on April 13, 2017. Attendees at his funeral in Pittsburgh included former president Barack Obama and former secretary of state John Kerry. His burial was in Christ Our Redeemer Catholic Cemetery, Ross Township, Pennsylvania.
See also
List of U.S. political appointments that crossed party lines
References
External links
Biography for Ambassador Daniel M. Rooney – via archive.org
|-
|-
1932 births
2017 deaths
Ireland Funds
Ambassadors of the United States to Ireland
National Football League team presidents
Pittsburgh Steelers executives
Pittsburgh Steelers owners
Honorary Commanders of the Order of the British Empire
Pro Football Hall of Fame inductees
Duquesne University alumni
Pennsylvania Republicans
Sportspeople from Pittsburgh
Rooney family
American people of Irish descent
American Roman Catholics
| true |
[
"Stones into Schools: Promoting Peace with Books, Not Bombs, in Afghanistan and Pakistan is a New York Times bestselling book by Greg Mortenson published by Viking in 2009. The book is the sequel to the bestselling book Three Cups of Tea and tells the story of Mortenson's humanitarian efforts to build schools in Pakistan and Afghanistan with his non-profit charity organization, Central Asia Institute (CAI). CAI reports that as of 2010, it has overseen the building over 171 schools in the two countries. These schools reportedly provide education to over 64,000 children, including 54,000 girls, where few education opportunities existed before in the remote regions of Pakistan and Afghanistan.\n\nSummary\nStones into Schools picks up where Three Cups of Tea left off in late 2003. Tracing the efforts of CAI to work in the northeast corner of Afghanistan, the book describes how the book's author and Sarfraz Khan worked to establish the first schools in the area. Mortenson and Khan's efforts were thwarted for a time when a devastating earthquake hit the Azad Kashmir region of Pakistan. CAI assisted with relief efforts in the region by setting up temporary tent schools and later build several earthquake-proof schools. After CAI's relief efforts were completed, the non-profit charity organization then opens schools in areas controlled by the Taliban and Mortenson assists the US military to formulate strategic plans in the region.\n\nAdvice solicited by US Military in Afghanistan\nDue to attention paid to Mortenson's books first by their wives, US military leaders in Afghanistan have sought Mortenson's advice on how to work with the elders of local Afghan communities since 2007. Seeking his knowledge on dealing with Afghan elders, the military has also included Mortenson as an active participant in meetings between the elders and US military commanders. He has not, however, accepted any payment for his services, nor does he have any contractual or other formal relationship with the US military.\n\nCriticism\n\nAllegations\n\nOn the April 17, 2011 broadcast of CBS News' 60 Minutes, correspondent Steve Kroft alleged inaccuracies in Stones into Schools and its prequel, Three Cups of Tea. In particular, CBS News disputed Mortenson's claim that he got lost near K2 and ended up in Korphe; that he was captured by the Taliban in 1996; whether the number of schools built and supported by CAI is accurate; and the propriety in the use of CAI funds for Mortenson's book tours. 60 Minutes asked Mortenson for an interview prior to their broadcast, but Mortenson did not respond to their requests.\n\nJon Krakauer, a former financial supporter of CAI, has also questioned Mortenson's accounts separately and was interviewed for the 60 Minutes segment. The day after the broadcast, Krakauer released his allegations in a lengthy online article, Three Cups of Deceit - How Greg Mortenson, Humanitarian Hero, Lost His Way.\n\nMansur Khan Mahsudhe, a tribesmen Greg Mortenson describes as a kidnapper in Stones into Schools, states he is \"looking into how to sue\" Greg Mortenson for what he claims are lies about him.\n\nResponse to allegations\n\nIn response to the allegations made against him and his books, Mortenson wrote a statement that was published in the Bozeman Chronicle: \"I stand by the information conveyed in my book, and by the value of CAI's work in empowering local communities to build and operate schools that have educated more than 60,000 students.\" Mortenson further stated, \"The time about our final days on K2 and ongoing journey to Korphe village and Skardu is a compressed version of events that took place in the fall of 1993...\"\n\nScott Darsney, a respected mountaineer and friend of Greg Mortenson, wrote an email subsequently turned into an exclusive article for Outside magazine's online version as a response to the allegations against Mortenson. Darnsey questioned the accuracy and fairness of both the Krakauer piece and the 60 Minutes report. Darnsey had been interviewed by Krakauer, and maintained that Krakauer either misquoted or misunderstood what he said.\n\nAs a response to Krakauer's allegations, CAI produced a comprehensive list of projects completed over a period of years and projects CAI is currently working on. The list was released in December, 2011 (see external links below).\n\nReferences\n\nExternal links\nOfficial website of Greg Mortenson\nOfficial website of Central Asia Institute\nDecember 2011 Comprehensive list of CAI projects past and present\nOfficial website of Three Cups of Tea\nOfficial website of \"Pennies For Peace\"\nAfter Words interview with Mortenson on Stones into Schools, December 19, 2009\n\n2009 non-fiction books\nAmerican memoirs\nBooks about Afghanistan\nBooks about Pakistan",
"In law, an allegation is a claim of an unproven fact by a party in a pleading, charge, or defense. Until they can be proved, allegations remain merely assertions.\n\nThere are also marital allegations: marriage bonds and allegations exist for couples who applied to marry by licence. They do not exist for couples who married by banns. The marriage allegation was the document in which the couple alleged (or most frequently just the groom alleged on behalf of both of them) that there were no impediments to the marriage.\n\nGenerally, in a civil complaint, a plaintiff alleges facts sufficient to establish all the elements of the claim and thus states a cause of action. The plaintiff must then carry the burden of proof and the burden of persuasion in order to succeed in the lawsuit.\n\nA defendant can allege affirmative defenses in its answer to the complaint.\n\nOther allegations are required in a pleading to establish the correct jurisdiction, personal jurisdiction and subject matter jurisdiction.\n\nDisjunctive allegations\nDisjunctive allegations are allegations in a pleading joined together by an \"or\". In a complaint, disjunctive allegations are usually per se defective because such a pleading does not put the party on notice of which allegations they must defend.\n\nOn the other hand, defendants often plead in the alternative by listing seemingly inconsistent defenses. For example, \"I did not do the crime\", \"if I did, I didn't know\", or \"even if I did know, I've got a good excuse\". Such a pleading may be considered disjunctive and may be permissible.\n\nSee also\n Accusation\n False accusation\n Reasonable doubt\n\nReferences\n\nLegal terminology"
] |
[
"Dan Rooney",
"James Harrison vs. Cedrick Wilson",
"What was the basis for Harrison vs Cedrick?",
"March 19, 2008; Rooney released wide receiver Cedrick Wilson from the Steelers, after he was arrested for punching his former girlfriend.",
"Was Wilson arrested for this?",
"March 8, Rooney failed to offer any type of discipline to linebacker James Harrison for slapping his girlfriend.",
"Did the case go to court?",
"When asked about the incident involving Wilson, Rooney stated that \"the Steelers do not condone violence of any kind, especially against women,\".",
"How did either man respond to the allegations?",
"Rooney said that the cases were different and stated that \"I know many are asking the question of [why] we released Wilson and Harrison we kept."
] |
C_d8423e1f67e340bca1b61c110b549c5a_1
|
Who else responded or made a statement?
| 5 |
Who else responded or made a statement in addition to Rooney?
|
Dan Rooney
|
On March 19, 2008; Rooney released wide receiver Cedrick Wilson from the Steelers, after he was arrested for punching his former girlfriend. However earlier that month, on March 8, Rooney failed to offer any type of discipline to linebacker James Harrison for slapping his girlfriend. When asked about the incident involving Wilson, Rooney stated that "the Steelers do not condone violence of any kind, especially against women,". However, he was then confronted about this by Ed Bouchette and Michael A. Fuoco of the Pittsburgh Post-Gazette, who asked why Harrison was not punished for committing the same crime. Rooney said that the cases were different and stated that "I know many are asking the question of [why] we released Wilson and Harrison we kept. The circumstances--I know of the incidents, they are completely different. In fact, when I say we don't condone these things, we don't, but we do have to look at the circumstances that are involved with other players and things like that, so they're not all the same. What James Harrison was doing and how the incident occurred, what he was trying to do was really well worth it. He was doing something that was good, wanted to take his son to get baptized where he lived and things like that. She said she didn't want to do it." Rooney later said that Harrison had no intention of harming his girlfriend when he went to her house to pick up his son. "The situation angered him. He didn't go there with intent." Meanwhile, Rooney stated that the Wilson case was different. According to Rooney "[Wilson] knew what he was doing. He knew where his [former] girlfriend was and went to the bar looking for her. When he got there he punched her. That's different and I understand he expressed no regret. Afterwards Rooney was criticized by the Women's Center and Shelter of Pittsburgh as a result of his comments. ESPN's Matt Mosley later wrote that Rooney's attempt to "explain that Harrison's heart was in the right place ... had to be one of the worst Public Relations moments in club history." CANNOTANSWER
|
Rooney was criticized by the Women's Center and Shelter of Pittsburgh as a result of his comments. ESPN's Matt Mosley later wrote that Rooney's attempt to "explain
|
Daniel Milton Rooney (July 20, 1932 – April 13, 2017) was an American executive and diplomat best known for his association with the Pittsburgh Steelers, an American football team in the National Football League (NFL), and son of the Steelers' founder, Art Rooney. He held various roles within the organization, most notably as president, owner and chairman.
Rooney implemented a philosophy and management style that emphasized open, practical and efficient management. The Steelers were very successful during his tenure, winning 15 division championships, eight AFC Championships, and an NFL record six Super Bowl Championships. In 2000, he was elected to the Pro Football Hall of Fame for his contributions to the game. He was also credited with spearheading a requirement that NFL teams with head coach and general manager vacancies interview at least one minority candidate, which has become known as the "Rooney Rule".
Outside of football, Rooney served as the United States Ambassador to Ireland, from July 2009 until his resignation in December 2012. He was also co-founder of the Ireland-related fundraising organization The Ireland Funds.
Early life and education
Daniel Milton Rooney was born in Pittsburgh, Pennsylvania, the son of Kathleen (née McNulty) and Pittsburgh Steelers' owner Art Rooney. In the Steelers organization, Rooney was involved in many aspects of the franchise from the time he was a young boy, often assisting his father at Pitt Stadium and Forbes Field. He grew up in the North Side neighborhood of Pittsburgh and attended North Catholic High School where he excelled as the team's quarterback. He was also the coach for the St. Peter's Elementary school football team, which was quarterbacked by future CIA Director and lifelong friend Michael Hayden. Rooney was mentored by Fran Fogerty, Joe Carr and Ed Kiely. These men assisted in teaching him the business of football. After graduating from Duquesne University, with his major in accounting, he knew football was what he wanted to pursue.
Career
In 1960, Rooney originally worked as director of personnel for the Steelers. By early 1969, Rooney was managing the day-to-day operations of the team and personally selected the coaching hire of Chuck Noll. Rooney was appointed team president in 1975 and was officially given full operational control of the franchise. His father remained Chairman and President Emeritus, as well as the public face of the franchise, until his death in 1988.
Rooney generally avoided the spotlight, but he was a very active owner behind the scenes. Rooney helped lead the negotiations of the collective bargaining agreement of 1982, and is largely credited both by owners and players of having ended a strike that lasted half of the season. He was also one of the main architects of the salary cap, which was implemented in 1993. Rooney became the patriarch and controlling owner of the team, following the death of his father. In 2003, Rooney followed in his father's footsteps by slowly ceding day-to-day operations of the franchise to the next generation of the family. While Rooney was still chairman, and to many fans, the public face of the team, his son Art Rooney II assumed full operational control of the Steelers.
In 1995, Rooney was influential in trying to stop the Steelers' biggest rival, the Cleveland Browns, from moving to Baltimore. Along with Buffalo Bills owner Ralph Wilson, he was the only owner to vote against the move and was a driving force in ensuring the Browns return to Cleveland in 1999.
Sale of the Steelers
On July 7, 2008, Rooney and his son, team president Art Rooney II, announced that they were seeking to buy out his brothers' shares in the team. The team initially said that some of Rooney's four brothers want to "get out of the NFL and focus their business efforts on their racetracks and other interests." The Wall Street Journal reported that the Steelers had "been secretly shopped to potential buyers amid continuing divisions among the five sons of the team's founder, Art Rooney Sr." This forced the Steelers to announce that prolonged, ongoing negotiations were under way concerning the "restructuring" of ownership, which could have resulted in the sale of the franchise or a consolidation of control within the Rooney family. Discussions had supposedly been taking place for the last two years. The use of the phrase "ensure compliance with NFL ownership policies" referred to the family's gambling operation. At the time of publication, they owned Yonkers Raceway, a harness racing track outside of New York City, and Palm Beach Kennel Club, a greyhound racetrack in West Palm Beach. The New York racetrack had been owned by the family since 1972, and the Florida racetrack had been owned since 1970. The team said "these facilities have added forms of gaming that are inconsistent with NFL gambling policy.", relating to the then-recent installation of slot machines. According to league policy, no NFL owner may own, directly or indirectly, any interests in a gambling casino. The NFL defines any facility with slot machines as a casino.
The Steelers' statement said that NFL commissioner Roger Goodell asked former NFL commissioner Paul Tagliabue to "serve as a league representative in discussions with the family in order to reach an agreement on the separation of the gambling interests and on a restructuring of ownership if the team is sold." Any sale involving an NFL team is subject to a league review and must be approved by 75% of member clubs. The Steelers were valued at $929 million by Forbes magazine in September 2007. However, Rooney's brothers: Art Jr., Tim, Patrick and John released a statement confirming that they retained Goldman, Sachs & Co. to put a price tag on the franchise, and analysts in New York placed its value between $800 million and $1.2 billion. Their shares were likely worth more than Dan and Art II had offered in the initial buyout, and it could have raised even higher and still remain under the NFL's ceiling of $150 million in ownership debt. Each Rooney brothers' stake was worth about $160 million, or less than Dan was believed to be offering. Art Jr. was the brother who might have determined if the majority of the team remains in the Rooney family. He was formerly a Pro Football Hall of Fame nominee for his drafting skills, and was fired by Dan in 1987. The brothers likely would not have retained Goldman Sachs if they felt they could soon work out a deal with Dan. The move also reflected on their fears that selling to Dan, coupled with the ensuing taxes, could leave their children and grandchildren with far less money than their shares are worth. There was also concern if any of the brothers were to die without a change in ownership, their heirs would face estate taxes of up to 45% of the shares' value. Rooney worked with Morgan Stanley and PNC Financial Services to attempt to bring in additional investors who might prop up his buyout attempt.
According to The Wall Street Journal, Duquesne Capital Management chairman Stanley Druckenmiller was apparently interested in acquiring the team. On July 8, The Associated Press reported that a deal could be reached within days to sell a majority interest in the Steelers to Druckenmiller, taking control of the franchise away from the Rooney family. However Rooney, stopped short of guaranteeing that he and his son, would be able to stay at the helm of a team. He hinted that "many people," not just Druckenmiller, might be interested in the NFL franchise. Later, NFL spokesman Greg Aiello stated that the NFL would continue to support the Rooneys in their efforts to retain control of the Steelers, and maintained the franchise would not relocate to another city, only that the ownership will either change or be consolidated.
On November 21, the Pittsburgh Post-Gazette reported that Tim and Pat planned to sell each of their 16% stake in the Steelers, so they could remain involved in racetracks and casinos in Yonkers and West Palm Beach. John and Art Jr. each planned to keep a little less than half of their 16% stake, and Dan and Art II, were trying to acquire 30% of the team to abide by NFL policy and compiled a list of investors who, in essence, would become their new partners in the franchise.
Controversies
James Harrison vs. Cedrick Wilson
On March 19, 2008, Rooney released wide receiver Cedrick Wilson from the Steelers, after he was arrested for punching his former girlfriend. However earlier that month, on March 8, Rooney failed to offer any type of discipline to linebacker James Harrison for slapping his girlfriend. When asked about the incident involving Wilson, Rooney stated that "the Steelers do not condone violence of any kind, especially against women". However, he was then confronted about this by Ed Bouchette and Michael A. Fuoco of the Pittsburgh Post-Gazette, who asked why Harrison was not punished for committing the same crime. Rooney said that the cases were different and stated that "I know many are asking the question of [why] we released Wilson and Harrison we kept. The circumstances—I know of the incidents, they are completely different. In fact, when I say we don't condone these things, we don't, but we do have to look at the circumstances that are involved with other players and things like that, so they're not all the same. What James Harrison was doing and how the incident occurred, what he was trying to do was really well worth it. He was doing something that was good, wanted to take his son to get baptized where he lived and things like that. She said she didn't want to do it."
Rooney later said that Harrison had no intention of harming his girlfriend when he went to her house to pick up his son. "The situation angered him. He didn't go there with intent." Meanwhile, Rooney stated that the Wilson case was different. According to Rooney "[Wilson] knew what he was doing. He knew where his [former] girlfriend was and went to the bar looking for her. When he got there he punched her. That's different and I understand he expressed no regret.
Afterwards, Rooney was criticized by the Women's Center and Shelter of Pittsburgh as a result of his comments. ESPN's Matt Mosley later wrote that Rooney's attempt to "explain that Harrison's heart was in the right place ... had to be one of the worst Public Relations moments in club history."
Steelers taxes and taxpayer funding
In August 2004, Pittsburgh Tribune-Review writer Bill Steigerwald reported that Rooney's team received $5 million in state funds for a new, $12 million amphitheater. This was in addition to the $158 million in public subsidies the organization received to build Heinz Field. Steigerwald wrote that: Since the Steelers don't own any taxable property, the Rooneys dodge city and county real estate taxes. Heinz Field, which the Steelers operate and profit from in myriad ways, is owned by taxpayers through the Sports and Exhibition Authority. The team offices, practice field and workout facilities are leased from UPMC's tax-exempt Sports Performance Complex. Steelers players pay payroll and occupation taxes like everyone else. Fans pay the 5 percent city amusement tax on each ticket. But the Steelers - like a few other profit-making corporations - aren't exempt from paying both a city mercantile tax (3 mills on concessions, etc.) and a city business privilege tax (6 mills on gross receipts). Tax officials say these taxes are highly complicated to compute – and the final amounts the Steelers pay are top secret.
Ambassador to Ireland
On March 17, 2009, President Obama announced he had nominated Rooney to become the next U.S. ambassador to Ireland, citing the owner's longstanding support for Irish-American charitable causes. In 2008, Rooney gave $30,000 to a Democratic Party committee that aided Obama's campaign, according to CQ MoneyLine, a non-partisan group that tracks political contributions. According to David Lewis, a Vanderbilt University political scientist and the author of The Politics of Presidential Appointments, "giving coveted ambassadorships to political supporters is a relatively low-risk way for presidents to repay campaign debts."
Secretary of State Hillary Clinton swore him in as the new ambassador to Ireland on July 1, 2009. Rooney presented his credentials to Irish President Mary McAleese on July 3, before making his first official speaking engagement at a lunch hosted by the American Chamber of Commerce Ireland.
In an April 2011 interview with The Irish Times, Rooney mentioned that he would consider resigning his ambassadorship in order to campaign for Obama's re-election. In a prepared statement released after that interview was published. Rooney stated, "I was asked what I could do to help [Obama] in the next election and I responded that the best thing I could do would be to help him campaign. Were I to do so, it would require my resignation as ambassador to Ireland. However, I am very pleased with my accomplishments to date and I intend to continue to carry out my duties." On December 14, 2012, he resigned as ambassador to Ireland and returned to Pittsburgh. He would eventually be replaced in June 2014 by Kevin O'Malley.
Personal life
Rooney was married to his wife Patricia Regan for sixty-five years. They first met in the office of the Steelers where she was working, and got married soon after. The couple had nine children together, although he was predeceased by two of his daughters. Rooney was also the maternal great-uncle of actresses Kate Mara and her sister Rooney Mara.
In 2008, he surprised many with his public endorsement of Barack Obama for president. The family had traditionally been very private on politics, even being rumored to have a Republican bent. Rooney responded to his public endorsement with: "When I think of Barack Obama's America I have great hope. I support his candidacy and look forward to his Presidency."
Rooney was the benefactor of the Rooney Prize for Irish Literature and Vice-Chairman of The American Ireland Fund. He was also a Founding Chairman of The Mentoring Partnership of Southwestern Pennsylvania. He was named to the PoliticsPA list of most influential individuals in Pennsylvania politics in 2002. In 2008, Rooney became an honorary Commander of the Most Excellent Order of the British Empire. He won the 2009 Jack Horrigan Memorial Award, presented by the Pro Football Writers Association to honor a league or club official "for his or her qualities and professional style in helping the pro football writers do their job." He was recognized in 2016 with a Lifetime Achievement Award from the Jackie Robinson Foundation.
Death
Rooney died at the age of 84 on April 13, 2017. Attendees at his funeral in Pittsburgh included former president Barack Obama and former secretary of state John Kerry. His burial was in Christ Our Redeemer Catholic Cemetery, Ross Township, Pennsylvania.
See also
List of U.S. political appointments that crossed party lines
References
External links
Biography for Ambassador Daniel M. Rooney – via archive.org
|-
|-
1932 births
2017 deaths
Ireland Funds
Ambassadors of the United States to Ireland
National Football League team presidents
Pittsburgh Steelers executives
Pittsburgh Steelers owners
Honorary Commanders of the Order of the British Empire
Pro Football Hall of Fame inductees
Duquesne University alumni
Pennsylvania Republicans
Sportspeople from Pittsburgh
Rooney family
American people of Irish descent
American Roman Catholics
| true |
[
"The dangling else is a problem in programming of parser generators in which an optional else clause in an if–then(–else) statement results in nested conditionals being ambiguous. Formally, the reference context-free grammar of the language is ambiguous, meaning there is more than one correct parse tree.\n\nIn many programming languages one may write conditionally executed code in two forms: the if-then form, and the if-then-else form – the else clause is optional:\n if a then s\n if b then s1 else s2\n\nThis gives rise to an ambiguity in interpretation when there are nested statements, specifically whenever an if-then form appears as s1 in an if-then-else form:\n\n if a then if b then s else s2\nIn this example, s is unambiguously executed when a is true and b is true, but one may interpret s2 as being executed when a is false (thus attaching the else to the first if) or when a is true and b is false (thus attaching the else to the second if). In other words, one may see the previous statement as either of the following expressions:\n if a then (if b then s) else s2\n if a then (if b then s else s2)\n\nThe dangling else problem dates to ALGOL 60, and has been resolved in various ways in subsequent languages. In LR parsers, the dangling else is the archetypal example of a shift-reduce conflict.\n\nAvoiding ambiguity while keeping the syntax\n\nThis is a problem that often comes up in compiler construction, especially scannerless parsing. The convention when dealing with the dangling else is to attach the else to the nearby if statement, allowing for unambiguous context-free grammars, in particular. Programming languages like Pascal, C and Java follow this convention, so there is no ambiguity in the semantics of the language, though the use of a parser generator may lead to ambiguous grammars. In these cases alternative grouping is accomplished by explicit blocks, such as begin...end in Pascal and {...} in C.\n\nDepending on the compiler construction approach, one may take different corrective actions to avoid ambiguity:\n\nIf the parser is produced by an SLR, LR(1) or LALR LR parser generator, the programmer will often rely on the generated parser feature of preferring shift over reduce whenever there is a conflict. Alternatively, the grammar can be rewritten to remove the conflict, at the expense of an increase in grammar size (see below).\nIf the parser is hand written, the programmer may use a non-ambiguous context-free grammar. Alternatively, one may rely on a non-context-free grammar or a parsing expression grammar.\n\nAvoiding ambiguity by changing the syntax\nThe problem can also be solved by making explicit the link between an else and its if, within the syntax. This usually helps avoid human errors.\n\nPossible solutions are:\nHaving an \"end if\" symbol delimiting the end of the if construct. Examples of such languages are ALGOL 68, Ada, Eiffel, PL/SQL, Visual Basic, Modula-2, and AppleScript.\nDisallowing the statement following a \"then\" to be an \"if\" itself (it may however be a pair of statement brackets containing only an if-then-clause). This approach is followed by ALGOL 60.\nRequiring braces (parenthesize) when an \"else\" follows an \"if\".\nRequiring every \"if\" to be paired with an \"else\". To avoid a similar problem concerning semantics rather than syntax, Racket deviates from Scheme by considering an if without a fallback clause to be an error, effectively distinguishing conditional expressions (i.e if) from conditional statements (i.e when and unless, which do not have fallback clauses).\nUsing different keywords for the one-alternative and two-alternative \"if\" statements. S-algol uses if e do s for the one-alternative case and if e1 then e2 else e3 for the general case.\n Requiring braces unconditionally, like Swift. This is effectively true in Python as its indentation rules delimit every block, not just those in \"if\" statements.\n\nExamples\nConcrete examples follow.\n\nC\nIn C, the grammar reads, in part:\n statement = ...\n | selection-statement\n\n selection-statement = ...\n | IF ( expression ) statement\n | IF ( expression ) statement ELSE statement\n\nThus, without further rules, the statement\nif (a) if (b) s; else s2;\ncould ambiguously be parsed as if it were either:\nif (a)\n{\n if (b)\n s;\n else\n s2;\n}\nor:\nif (a)\n{\n if (b)\n s;\n}\nelse\n s2;\nIn practice in C the first tree is chosen, by associating the else with the nearest if.\n\nAvoiding the conflict in LR parsers\nThe above example could be rewritten in the following way to remove the ambiguity :\nstatement: open_statement\n | closed_statement\n ;\n\nopen_statement: IF '(' expression ')' statement\n | IF '(' expression ')' closed_statement ELSE open_statement\n ;\n\nclosed_statement: non_if_statement\n | IF '(' expression ')' closed_statement ELSE closed_statement\n ;\n\nnon_if_statement: ...\n ;\n\nAny other statement-related grammar rules may also have to be duplicated in this way if they may directly or indirectly end with a statement or selection-statement non-terminal.\n\nHowever, we give grammar that includes both of if and while statements.\n\nstatement: open_statement\n | closed_statement\n ;\n\nopen_statement: IF '(' expression ')' statement\n | IF '(' expression ')' closed_statement ELSE open_statement\n | WHILE '(' expression ')' open_statement\n ;\n\nclosed_statement: simple_statement\n | IF '(' expression ')' closed_statement ELSE closed_statement\n | WHILE '(' expression ')' closed_statement\n ;\n\nsimple_statement: ...\n ;\n\nFinally, we give the grammar that forbids ambiguous IF statements.\n\nstatement: open_statement\n | closed_statement\n ;\n\nopen_statement: IF '(' expression ')' simple_statement\n | IF '(' expression ')' open_statement\n | IF '(' expression ')' closed_statement ELSE open_statement\n | WHILE '(' expression ')' open_statement\n ;\n\nclosed_statement: simple_statement\n | IF '(' expression ')' closed_statement ELSE closed_statement\n | WHILE '(' expression ')' closed_statement\n ;\n\nsimple_statement: ...\n ;\n\nWith this grammar parsing of \"if (a) if (b) c else d\" fails:\n\nstatement\nopen_statement\nIF '(' expression ')' closed_statement ELSE open_statement\n'if' '(' 'a' ')' closed_statement 'else' 'd'\n\nand then the parsing fails trying to match closed_statement to \"if (b) c\". An attempt with closed_statement fails in the same way.\n\nSee also\nThe lexer hack\nMost vexing parse\n\nReferences\n\nParsing\nComputer programming\nAmbiguity\nConditional constructs",
"In United States law, a statement against interest is a statement made by a person which places them in a less advantageous position than if they had not made the statement and is, as a consequence, deemed credible as evidence (usually within a legal trial). For example, if a driver in an automobile accident boasts publicly that they were speeding, it may represent a legal admission of liability. It is analogous to the criminal equivalent, the statement against penal interest which is a statement that puts the person making the statement at risk of prosecution. In the United States federal court system and many state courts, statements against interest by individuals who are not available to be called at trial (but not other persons) may be admitted as evidence where in other circumstances they would be excluded as hearsay.\n\nUnder the Federal Rules of Evidence, Rule 804(b)(3) provides:\n\n\"A statement that:\n \n(A) a reasonable person in the declarant's position would have made only if the person believed it to be true because, when made, it was so contrary to the declarant’s proprietary or pecuniary interest or had so great a tendency to invalidate the declarant’s claim against someone else or to expose the declarant to civil or criminal liability; and\n\n(B) is supported by corroborating circumstances that clearly indicate its trustworthiness, if it is offered in a criminal case as one that tends to expose the declarant to criminal liability.\" See Fed. R. Evid. 804(b)(3). The rule was last amended on December 1, 2010. See Legislative History (with links to key documents).\n\nSee also\n Criterion of embarrassment\n\nAgainst interest\nUnited States law\nCivil law (common law)\nEvidence law"
] |
[
"Dan Rooney",
"James Harrison vs. Cedrick Wilson",
"What was the basis for Harrison vs Cedrick?",
"March 19, 2008; Rooney released wide receiver Cedrick Wilson from the Steelers, after he was arrested for punching his former girlfriend.",
"Was Wilson arrested for this?",
"March 8, Rooney failed to offer any type of discipline to linebacker James Harrison for slapping his girlfriend.",
"Did the case go to court?",
"When asked about the incident involving Wilson, Rooney stated that \"the Steelers do not condone violence of any kind, especially against women,\".",
"How did either man respond to the allegations?",
"Rooney said that the cases were different and stated that \"I know many are asking the question of [why] we released Wilson and Harrison we kept.",
"Who else responded or made a statement?",
"Rooney was criticized by the Women's Center and Shelter of Pittsburgh as a result of his comments. ESPN's Matt Mosley later wrote that Rooney's attempt to \"explain"
] |
C_d8423e1f67e340bca1b61c110b549c5a_1
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What did they say about his explanations?
| 6 |
What did the Women's Center and Shelter of Pittsburgh say about Rooney's explanations?
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Dan Rooney
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On March 19, 2008; Rooney released wide receiver Cedrick Wilson from the Steelers, after he was arrested for punching his former girlfriend. However earlier that month, on March 8, Rooney failed to offer any type of discipline to linebacker James Harrison for slapping his girlfriend. When asked about the incident involving Wilson, Rooney stated that "the Steelers do not condone violence of any kind, especially against women,". However, he was then confronted about this by Ed Bouchette and Michael A. Fuoco of the Pittsburgh Post-Gazette, who asked why Harrison was not punished for committing the same crime. Rooney said that the cases were different and stated that "I know many are asking the question of [why] we released Wilson and Harrison we kept. The circumstances--I know of the incidents, they are completely different. In fact, when I say we don't condone these things, we don't, but we do have to look at the circumstances that are involved with other players and things like that, so they're not all the same. What James Harrison was doing and how the incident occurred, what he was trying to do was really well worth it. He was doing something that was good, wanted to take his son to get baptized where he lived and things like that. She said she didn't want to do it." Rooney later said that Harrison had no intention of harming his girlfriend when he went to her house to pick up his son. "The situation angered him. He didn't go there with intent." Meanwhile, Rooney stated that the Wilson case was different. According to Rooney "[Wilson] knew what he was doing. He knew where his [former] girlfriend was and went to the bar looking for her. When he got there he punched her. That's different and I understand he expressed no regret. Afterwards Rooney was criticized by the Women's Center and Shelter of Pittsburgh as a result of his comments. ESPN's Matt Mosley later wrote that Rooney's attempt to "explain that Harrison's heart was in the right place ... had to be one of the worst Public Relations moments in club history." CANNOTANSWER
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Rooney's attempt to "explain that Harrison's heart was in the right place ... had to be one of the worst Public Relations moments in club history."
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Daniel Milton Rooney (July 20, 1932 – April 13, 2017) was an American executive and diplomat best known for his association with the Pittsburgh Steelers, an American football team in the National Football League (NFL), and son of the Steelers' founder, Art Rooney. He held various roles within the organization, most notably as president, owner and chairman.
Rooney implemented a philosophy and management style that emphasized open, practical and efficient management. The Steelers were very successful during his tenure, winning 15 division championships, eight AFC Championships, and an NFL record six Super Bowl Championships. In 2000, he was elected to the Pro Football Hall of Fame for his contributions to the game. He was also credited with spearheading a requirement that NFL teams with head coach and general manager vacancies interview at least one minority candidate, which has become known as the "Rooney Rule".
Outside of football, Rooney served as the United States Ambassador to Ireland, from July 2009 until his resignation in December 2012. He was also co-founder of the Ireland-related fundraising organization The Ireland Funds.
Early life and education
Daniel Milton Rooney was born in Pittsburgh, Pennsylvania, the son of Kathleen (née McNulty) and Pittsburgh Steelers' owner Art Rooney. In the Steelers organization, Rooney was involved in many aspects of the franchise from the time he was a young boy, often assisting his father at Pitt Stadium and Forbes Field. He grew up in the North Side neighborhood of Pittsburgh and attended North Catholic High School where he excelled as the team's quarterback. He was also the coach for the St. Peter's Elementary school football team, which was quarterbacked by future CIA Director and lifelong friend Michael Hayden. Rooney was mentored by Fran Fogerty, Joe Carr and Ed Kiely. These men assisted in teaching him the business of football. After graduating from Duquesne University, with his major in accounting, he knew football was what he wanted to pursue.
Career
In 1960, Rooney originally worked as director of personnel for the Steelers. By early 1969, Rooney was managing the day-to-day operations of the team and personally selected the coaching hire of Chuck Noll. Rooney was appointed team president in 1975 and was officially given full operational control of the franchise. His father remained Chairman and President Emeritus, as well as the public face of the franchise, until his death in 1988.
Rooney generally avoided the spotlight, but he was a very active owner behind the scenes. Rooney helped lead the negotiations of the collective bargaining agreement of 1982, and is largely credited both by owners and players of having ended a strike that lasted half of the season. He was also one of the main architects of the salary cap, which was implemented in 1993. Rooney became the patriarch and controlling owner of the team, following the death of his father. In 2003, Rooney followed in his father's footsteps by slowly ceding day-to-day operations of the franchise to the next generation of the family. While Rooney was still chairman, and to many fans, the public face of the team, his son Art Rooney II assumed full operational control of the Steelers.
In 1995, Rooney was influential in trying to stop the Steelers' biggest rival, the Cleveland Browns, from moving to Baltimore. Along with Buffalo Bills owner Ralph Wilson, he was the only owner to vote against the move and was a driving force in ensuring the Browns return to Cleveland in 1999.
Sale of the Steelers
On July 7, 2008, Rooney and his son, team president Art Rooney II, announced that they were seeking to buy out his brothers' shares in the team. The team initially said that some of Rooney's four brothers want to "get out of the NFL and focus their business efforts on their racetracks and other interests." The Wall Street Journal reported that the Steelers had "been secretly shopped to potential buyers amid continuing divisions among the five sons of the team's founder, Art Rooney Sr." This forced the Steelers to announce that prolonged, ongoing negotiations were under way concerning the "restructuring" of ownership, which could have resulted in the sale of the franchise or a consolidation of control within the Rooney family. Discussions had supposedly been taking place for the last two years. The use of the phrase "ensure compliance with NFL ownership policies" referred to the family's gambling operation. At the time of publication, they owned Yonkers Raceway, a harness racing track outside of New York City, and Palm Beach Kennel Club, a greyhound racetrack in West Palm Beach. The New York racetrack had been owned by the family since 1972, and the Florida racetrack had been owned since 1970. The team said "these facilities have added forms of gaming that are inconsistent with NFL gambling policy.", relating to the then-recent installation of slot machines. According to league policy, no NFL owner may own, directly or indirectly, any interests in a gambling casino. The NFL defines any facility with slot machines as a casino.
The Steelers' statement said that NFL commissioner Roger Goodell asked former NFL commissioner Paul Tagliabue to "serve as a league representative in discussions with the family in order to reach an agreement on the separation of the gambling interests and on a restructuring of ownership if the team is sold." Any sale involving an NFL team is subject to a league review and must be approved by 75% of member clubs. The Steelers were valued at $929 million by Forbes magazine in September 2007. However, Rooney's brothers: Art Jr., Tim, Patrick and John released a statement confirming that they retained Goldman, Sachs & Co. to put a price tag on the franchise, and analysts in New York placed its value between $800 million and $1.2 billion. Their shares were likely worth more than Dan and Art II had offered in the initial buyout, and it could have raised even higher and still remain under the NFL's ceiling of $150 million in ownership debt. Each Rooney brothers' stake was worth about $160 million, or less than Dan was believed to be offering. Art Jr. was the brother who might have determined if the majority of the team remains in the Rooney family. He was formerly a Pro Football Hall of Fame nominee for his drafting skills, and was fired by Dan in 1987. The brothers likely would not have retained Goldman Sachs if they felt they could soon work out a deal with Dan. The move also reflected on their fears that selling to Dan, coupled with the ensuing taxes, could leave their children and grandchildren with far less money than their shares are worth. There was also concern if any of the brothers were to die without a change in ownership, their heirs would face estate taxes of up to 45% of the shares' value. Rooney worked with Morgan Stanley and PNC Financial Services to attempt to bring in additional investors who might prop up his buyout attempt.
According to The Wall Street Journal, Duquesne Capital Management chairman Stanley Druckenmiller was apparently interested in acquiring the team. On July 8, The Associated Press reported that a deal could be reached within days to sell a majority interest in the Steelers to Druckenmiller, taking control of the franchise away from the Rooney family. However Rooney, stopped short of guaranteeing that he and his son, would be able to stay at the helm of a team. He hinted that "many people," not just Druckenmiller, might be interested in the NFL franchise. Later, NFL spokesman Greg Aiello stated that the NFL would continue to support the Rooneys in their efforts to retain control of the Steelers, and maintained the franchise would not relocate to another city, only that the ownership will either change or be consolidated.
On November 21, the Pittsburgh Post-Gazette reported that Tim and Pat planned to sell each of their 16% stake in the Steelers, so they could remain involved in racetracks and casinos in Yonkers and West Palm Beach. John and Art Jr. each planned to keep a little less than half of their 16% stake, and Dan and Art II, were trying to acquire 30% of the team to abide by NFL policy and compiled a list of investors who, in essence, would become their new partners in the franchise.
Controversies
James Harrison vs. Cedrick Wilson
On March 19, 2008, Rooney released wide receiver Cedrick Wilson from the Steelers, after he was arrested for punching his former girlfriend. However earlier that month, on March 8, Rooney failed to offer any type of discipline to linebacker James Harrison for slapping his girlfriend. When asked about the incident involving Wilson, Rooney stated that "the Steelers do not condone violence of any kind, especially against women". However, he was then confronted about this by Ed Bouchette and Michael A. Fuoco of the Pittsburgh Post-Gazette, who asked why Harrison was not punished for committing the same crime. Rooney said that the cases were different and stated that "I know many are asking the question of [why] we released Wilson and Harrison we kept. The circumstances—I know of the incidents, they are completely different. In fact, when I say we don't condone these things, we don't, but we do have to look at the circumstances that are involved with other players and things like that, so they're not all the same. What James Harrison was doing and how the incident occurred, what he was trying to do was really well worth it. He was doing something that was good, wanted to take his son to get baptized where he lived and things like that. She said she didn't want to do it."
Rooney later said that Harrison had no intention of harming his girlfriend when he went to her house to pick up his son. "The situation angered him. He didn't go there with intent." Meanwhile, Rooney stated that the Wilson case was different. According to Rooney "[Wilson] knew what he was doing. He knew where his [former] girlfriend was and went to the bar looking for her. When he got there he punched her. That's different and I understand he expressed no regret.
Afterwards, Rooney was criticized by the Women's Center and Shelter of Pittsburgh as a result of his comments. ESPN's Matt Mosley later wrote that Rooney's attempt to "explain that Harrison's heart was in the right place ... had to be one of the worst Public Relations moments in club history."
Steelers taxes and taxpayer funding
In August 2004, Pittsburgh Tribune-Review writer Bill Steigerwald reported that Rooney's team received $5 million in state funds for a new, $12 million amphitheater. This was in addition to the $158 million in public subsidies the organization received to build Heinz Field. Steigerwald wrote that: Since the Steelers don't own any taxable property, the Rooneys dodge city and county real estate taxes. Heinz Field, which the Steelers operate and profit from in myriad ways, is owned by taxpayers through the Sports and Exhibition Authority. The team offices, practice field and workout facilities are leased from UPMC's tax-exempt Sports Performance Complex. Steelers players pay payroll and occupation taxes like everyone else. Fans pay the 5 percent city amusement tax on each ticket. But the Steelers - like a few other profit-making corporations - aren't exempt from paying both a city mercantile tax (3 mills on concessions, etc.) and a city business privilege tax (6 mills on gross receipts). Tax officials say these taxes are highly complicated to compute – and the final amounts the Steelers pay are top secret.
Ambassador to Ireland
On March 17, 2009, President Obama announced he had nominated Rooney to become the next U.S. ambassador to Ireland, citing the owner's longstanding support for Irish-American charitable causes. In 2008, Rooney gave $30,000 to a Democratic Party committee that aided Obama's campaign, according to CQ MoneyLine, a non-partisan group that tracks political contributions. According to David Lewis, a Vanderbilt University political scientist and the author of The Politics of Presidential Appointments, "giving coveted ambassadorships to political supporters is a relatively low-risk way for presidents to repay campaign debts."
Secretary of State Hillary Clinton swore him in as the new ambassador to Ireland on July 1, 2009. Rooney presented his credentials to Irish President Mary McAleese on July 3, before making his first official speaking engagement at a lunch hosted by the American Chamber of Commerce Ireland.
In an April 2011 interview with The Irish Times, Rooney mentioned that he would consider resigning his ambassadorship in order to campaign for Obama's re-election. In a prepared statement released after that interview was published. Rooney stated, "I was asked what I could do to help [Obama] in the next election and I responded that the best thing I could do would be to help him campaign. Were I to do so, it would require my resignation as ambassador to Ireland. However, I am very pleased with my accomplishments to date and I intend to continue to carry out my duties." On December 14, 2012, he resigned as ambassador to Ireland and returned to Pittsburgh. He would eventually be replaced in June 2014 by Kevin O'Malley.
Personal life
Rooney was married to his wife Patricia Regan for sixty-five years. They first met in the office of the Steelers where she was working, and got married soon after. The couple had nine children together, although he was predeceased by two of his daughters. Rooney was also the maternal great-uncle of actresses Kate Mara and her sister Rooney Mara.
In 2008, he surprised many with his public endorsement of Barack Obama for president. The family had traditionally been very private on politics, even being rumored to have a Republican bent. Rooney responded to his public endorsement with: "When I think of Barack Obama's America I have great hope. I support his candidacy and look forward to his Presidency."
Rooney was the benefactor of the Rooney Prize for Irish Literature and Vice-Chairman of The American Ireland Fund. He was also a Founding Chairman of The Mentoring Partnership of Southwestern Pennsylvania. He was named to the PoliticsPA list of most influential individuals in Pennsylvania politics in 2002. In 2008, Rooney became an honorary Commander of the Most Excellent Order of the British Empire. He won the 2009 Jack Horrigan Memorial Award, presented by the Pro Football Writers Association to honor a league or club official "for his or her qualities and professional style in helping the pro football writers do their job." He was recognized in 2016 with a Lifetime Achievement Award from the Jackie Robinson Foundation.
Death
Rooney died at the age of 84 on April 13, 2017. Attendees at his funeral in Pittsburgh included former president Barack Obama and former secretary of state John Kerry. His burial was in Christ Our Redeemer Catholic Cemetery, Ross Township, Pennsylvania.
See also
List of U.S. political appointments that crossed party lines
References
External links
Biography for Ambassador Daniel M. Rooney – via archive.org
|-
|-
1932 births
2017 deaths
Ireland Funds
Ambassadors of the United States to Ireland
National Football League team presidents
Pittsburgh Steelers executives
Pittsburgh Steelers owners
Honorary Commanders of the Order of the British Empire
Pro Football Hall of Fame inductees
Duquesne University alumni
Pennsylvania Republicans
Sportspeople from Pittsburgh
Rooney family
American people of Irish descent
American Roman Catholics
| true |
[
"No Matter What They Say is a song by Lil' Kim\n\nNo Matter What They Say\tmay also refer to:\n\"No Matter What They Say\", song by Denise LaSalle\t1978\n\"No Matter What They Say\", song by Priscilla Hernández \n\"No Matter What They Say\", song by Heinz (singer)\tMeek, Lawrence 1964\n\"No Matter What They Say\", song by Booker T. & the MG's, sampled in \"Shamrocks and Shenanigans\" on House of Pain (album)\n\"No Matter What They Say\", song by Raptile",
"\"What They'll Say About Us\" is a song by American singer-songwriter Finneas. It was released by OYOY as a single on September 2, 2020. The song was written and produced by Finneas. A lullaby-influenced ballad, the lyrics were inspired by the Black Lives Matter protests and Nick Cordero's death due to COVID-19. \"What They'll Say About Us\" was noted by music critics for its lyrical content. A music video for the song was released alongside the song and was directed by Sam Bennett in one take. It is the first single from his debut studio album Optimist.\n\nBackground and development\nFinneas wrote and produced \"What They'll Say About Us\". It was inspired by the spark of Black Lives Matter protests after racial inequality in the United States and the death of Canadian actor Nick Cordero, who died at the age of 41 from the ongoing COVID-19 pandemic. Finneas wrote the track in June 2020 while in quarantine. In an interview over Zoom with The Wall Street Journal, he said: \"I wrote this song in June after spending the day at a protest in Downtown LA, filled with hope with the prospect that millions of people were coming together from all over the world to fight against institutionalized racism and inequality\". He further stated: \"The other component of the song was [that] I was very closely following Nick Cordero's story on Instagram, via his wife [Amanda Kloots], and Nick and his wife were not people I'd ever met. I don't know them at all. I saw the headlines about his health, just like everybody else did. I just became incredibly attached to this family that I’d never met before. I kind of wrote this song as if you were singing to your loved one who was in a hospital bed while the world was protesting outside. I did make a point to keep the song fairly ambiguous because I know everybody's sort of going through different circumstances of the same things right now\".\n\nComposition and lyrics\n\"What They'll Say About Us\" begins \"calmly and reassuringly\": \"You're tired now, lie down/I'll be waiting to give you the good news/It might take patience/And when you wake up, it won't be over/So don't you give up\". However, as the beat and other instruments begin to arrive, the soundstage changes to be hazy. John Pareles, writing for The New York Times, says it \"mortality begins to haunt the song, all the way to a devastating last line\", noting the lyrics, \"It might take patience/And if you don't wake up/I'll know you tried to/I wish you could see him/He looks just like you\".\n\nReception\nIn a review for DIY magazine, the staff labeled \"What They'll Say About Us\" as \"poignant\" and an \"ode to human strength\". Writing for Billboard magazine, Jason Lipshutz said while the production on the track is \"effectively restrained\", people should credit Finneas for going \"full-on showstopper when he draws out the line, 'We've got the time to take the world / And make it better than it ever was\". Emily Tan of Spin magazine described the track as a song that \"aims to offer comfort to those who have lost someone due to Covid-19\".\n\nMusic video\nA music video for \"What They'll Say About Us\" was released to Finneas' YouTube channel on September 2, 2020. The video was directed by Sam Bennett and shot in one take. In the visual, lights and rain swirl around Finneas as he sings and offers comfort to people who have lost someone they love from COVID-19. Spins Emily Yan described the visual as \"simple\" and \"intimate\".\n\nCharts\n\nReferences\n\n2020s ballads\n2020 singles\n2020 songs\nSong recordings produced by Finneas O'Connell\nSongs written by Finneas O'Connell\nSongs in memory of deceased persons\nFinneas O'Connell songs"
] |
[
"Dan Rooney",
"James Harrison vs. Cedrick Wilson",
"What was the basis for Harrison vs Cedrick?",
"March 19, 2008; Rooney released wide receiver Cedrick Wilson from the Steelers, after he was arrested for punching his former girlfriend.",
"Was Wilson arrested for this?",
"March 8, Rooney failed to offer any type of discipline to linebacker James Harrison for slapping his girlfriend.",
"Did the case go to court?",
"When asked about the incident involving Wilson, Rooney stated that \"the Steelers do not condone violence of any kind, especially against women,\".",
"How did either man respond to the allegations?",
"Rooney said that the cases were different and stated that \"I know many are asking the question of [why] we released Wilson and Harrison we kept.",
"Who else responded or made a statement?",
"Rooney was criticized by the Women's Center and Shelter of Pittsburgh as a result of his comments. ESPN's Matt Mosley later wrote that Rooney's attempt to \"explain",
"What did they say about his explanations?",
"Rooney's attempt to \"explain that Harrison's heart was in the right place ... had to be one of the worst Public Relations moments in club history.\""
] |
C_d8423e1f67e340bca1b61c110b549c5a_1
|
Did either WIlson or Harrison comment?
| 7 |
Did either WIlson or Harrison comment in response to the Women's Center and Shelter of Pittsburgh?
|
Dan Rooney
|
On March 19, 2008; Rooney released wide receiver Cedrick Wilson from the Steelers, after he was arrested for punching his former girlfriend. However earlier that month, on March 8, Rooney failed to offer any type of discipline to linebacker James Harrison for slapping his girlfriend. When asked about the incident involving Wilson, Rooney stated that "the Steelers do not condone violence of any kind, especially against women,". However, he was then confronted about this by Ed Bouchette and Michael A. Fuoco of the Pittsburgh Post-Gazette, who asked why Harrison was not punished for committing the same crime. Rooney said that the cases were different and stated that "I know many are asking the question of [why] we released Wilson and Harrison we kept. The circumstances--I know of the incidents, they are completely different. In fact, when I say we don't condone these things, we don't, but we do have to look at the circumstances that are involved with other players and things like that, so they're not all the same. What James Harrison was doing and how the incident occurred, what he was trying to do was really well worth it. He was doing something that was good, wanted to take his son to get baptized where he lived and things like that. She said she didn't want to do it." Rooney later said that Harrison had no intention of harming his girlfriend when he went to her house to pick up his son. "The situation angered him. He didn't go there with intent." Meanwhile, Rooney stated that the Wilson case was different. According to Rooney "[Wilson] knew what he was doing. He knew where his [former] girlfriend was and went to the bar looking for her. When he got there he punched her. That's different and I understand he expressed no regret. Afterwards Rooney was criticized by the Women's Center and Shelter of Pittsburgh as a result of his comments. ESPN's Matt Mosley later wrote that Rooney's attempt to "explain that Harrison's heart was in the right place ... had to be one of the worst Public Relations moments in club history." CANNOTANSWER
|
CANNOTANSWER
|
Daniel Milton Rooney (July 20, 1932 – April 13, 2017) was an American executive and diplomat best known for his association with the Pittsburgh Steelers, an American football team in the National Football League (NFL), and son of the Steelers' founder, Art Rooney. He held various roles within the organization, most notably as president, owner and chairman.
Rooney implemented a philosophy and management style that emphasized open, practical and efficient management. The Steelers were very successful during his tenure, winning 15 division championships, eight AFC Championships, and an NFL record six Super Bowl Championships. In 2000, he was elected to the Pro Football Hall of Fame for his contributions to the game. He was also credited with spearheading a requirement that NFL teams with head coach and general manager vacancies interview at least one minority candidate, which has become known as the "Rooney Rule".
Outside of football, Rooney served as the United States Ambassador to Ireland, from July 2009 until his resignation in December 2012. He was also co-founder of the Ireland-related fundraising organization The Ireland Funds.
Early life and education
Daniel Milton Rooney was born in Pittsburgh, Pennsylvania, the son of Kathleen (née McNulty) and Pittsburgh Steelers' owner Art Rooney. In the Steelers organization, Rooney was involved in many aspects of the franchise from the time he was a young boy, often assisting his father at Pitt Stadium and Forbes Field. He grew up in the North Side neighborhood of Pittsburgh and attended North Catholic High School where he excelled as the team's quarterback. He was also the coach for the St. Peter's Elementary school football team, which was quarterbacked by future CIA Director and lifelong friend Michael Hayden. Rooney was mentored by Fran Fogerty, Joe Carr and Ed Kiely. These men assisted in teaching him the business of football. After graduating from Duquesne University, with his major in accounting, he knew football was what he wanted to pursue.
Career
In 1960, Rooney originally worked as director of personnel for the Steelers. By early 1969, Rooney was managing the day-to-day operations of the team and personally selected the coaching hire of Chuck Noll. Rooney was appointed team president in 1975 and was officially given full operational control of the franchise. His father remained Chairman and President Emeritus, as well as the public face of the franchise, until his death in 1988.
Rooney generally avoided the spotlight, but he was a very active owner behind the scenes. Rooney helped lead the negotiations of the collective bargaining agreement of 1982, and is largely credited both by owners and players of having ended a strike that lasted half of the season. He was also one of the main architects of the salary cap, which was implemented in 1993. Rooney became the patriarch and controlling owner of the team, following the death of his father. In 2003, Rooney followed in his father's footsteps by slowly ceding day-to-day operations of the franchise to the next generation of the family. While Rooney was still chairman, and to many fans, the public face of the team, his son Art Rooney II assumed full operational control of the Steelers.
In 1995, Rooney was influential in trying to stop the Steelers' biggest rival, the Cleveland Browns, from moving to Baltimore. Along with Buffalo Bills owner Ralph Wilson, he was the only owner to vote against the move and was a driving force in ensuring the Browns return to Cleveland in 1999.
Sale of the Steelers
On July 7, 2008, Rooney and his son, team president Art Rooney II, announced that they were seeking to buy out his brothers' shares in the team. The team initially said that some of Rooney's four brothers want to "get out of the NFL and focus their business efforts on their racetracks and other interests." The Wall Street Journal reported that the Steelers had "been secretly shopped to potential buyers amid continuing divisions among the five sons of the team's founder, Art Rooney Sr." This forced the Steelers to announce that prolonged, ongoing negotiations were under way concerning the "restructuring" of ownership, which could have resulted in the sale of the franchise or a consolidation of control within the Rooney family. Discussions had supposedly been taking place for the last two years. The use of the phrase "ensure compliance with NFL ownership policies" referred to the family's gambling operation. At the time of publication, they owned Yonkers Raceway, a harness racing track outside of New York City, and Palm Beach Kennel Club, a greyhound racetrack in West Palm Beach. The New York racetrack had been owned by the family since 1972, and the Florida racetrack had been owned since 1970. The team said "these facilities have added forms of gaming that are inconsistent with NFL gambling policy.", relating to the then-recent installation of slot machines. According to league policy, no NFL owner may own, directly or indirectly, any interests in a gambling casino. The NFL defines any facility with slot machines as a casino.
The Steelers' statement said that NFL commissioner Roger Goodell asked former NFL commissioner Paul Tagliabue to "serve as a league representative in discussions with the family in order to reach an agreement on the separation of the gambling interests and on a restructuring of ownership if the team is sold." Any sale involving an NFL team is subject to a league review and must be approved by 75% of member clubs. The Steelers were valued at $929 million by Forbes magazine in September 2007. However, Rooney's brothers: Art Jr., Tim, Patrick and John released a statement confirming that they retained Goldman, Sachs & Co. to put a price tag on the franchise, and analysts in New York placed its value between $800 million and $1.2 billion. Their shares were likely worth more than Dan and Art II had offered in the initial buyout, and it could have raised even higher and still remain under the NFL's ceiling of $150 million in ownership debt. Each Rooney brothers' stake was worth about $160 million, or less than Dan was believed to be offering. Art Jr. was the brother who might have determined if the majority of the team remains in the Rooney family. He was formerly a Pro Football Hall of Fame nominee for his drafting skills, and was fired by Dan in 1987. The brothers likely would not have retained Goldman Sachs if they felt they could soon work out a deal with Dan. The move also reflected on their fears that selling to Dan, coupled with the ensuing taxes, could leave their children and grandchildren with far less money than their shares are worth. There was also concern if any of the brothers were to die without a change in ownership, their heirs would face estate taxes of up to 45% of the shares' value. Rooney worked with Morgan Stanley and PNC Financial Services to attempt to bring in additional investors who might prop up his buyout attempt.
According to The Wall Street Journal, Duquesne Capital Management chairman Stanley Druckenmiller was apparently interested in acquiring the team. On July 8, The Associated Press reported that a deal could be reached within days to sell a majority interest in the Steelers to Druckenmiller, taking control of the franchise away from the Rooney family. However Rooney, stopped short of guaranteeing that he and his son, would be able to stay at the helm of a team. He hinted that "many people," not just Druckenmiller, might be interested in the NFL franchise. Later, NFL spokesman Greg Aiello stated that the NFL would continue to support the Rooneys in their efforts to retain control of the Steelers, and maintained the franchise would not relocate to another city, only that the ownership will either change or be consolidated.
On November 21, the Pittsburgh Post-Gazette reported that Tim and Pat planned to sell each of their 16% stake in the Steelers, so they could remain involved in racetracks and casinos in Yonkers and West Palm Beach. John and Art Jr. each planned to keep a little less than half of their 16% stake, and Dan and Art II, were trying to acquire 30% of the team to abide by NFL policy and compiled a list of investors who, in essence, would become their new partners in the franchise.
Controversies
James Harrison vs. Cedrick Wilson
On March 19, 2008, Rooney released wide receiver Cedrick Wilson from the Steelers, after he was arrested for punching his former girlfriend. However earlier that month, on March 8, Rooney failed to offer any type of discipline to linebacker James Harrison for slapping his girlfriend. When asked about the incident involving Wilson, Rooney stated that "the Steelers do not condone violence of any kind, especially against women". However, he was then confronted about this by Ed Bouchette and Michael A. Fuoco of the Pittsburgh Post-Gazette, who asked why Harrison was not punished for committing the same crime. Rooney said that the cases were different and stated that "I know many are asking the question of [why] we released Wilson and Harrison we kept. The circumstances—I know of the incidents, they are completely different. In fact, when I say we don't condone these things, we don't, but we do have to look at the circumstances that are involved with other players and things like that, so they're not all the same. What James Harrison was doing and how the incident occurred, what he was trying to do was really well worth it. He was doing something that was good, wanted to take his son to get baptized where he lived and things like that. She said she didn't want to do it."
Rooney later said that Harrison had no intention of harming his girlfriend when he went to her house to pick up his son. "The situation angered him. He didn't go there with intent." Meanwhile, Rooney stated that the Wilson case was different. According to Rooney "[Wilson] knew what he was doing. He knew where his [former] girlfriend was and went to the bar looking for her. When he got there he punched her. That's different and I understand he expressed no regret.
Afterwards, Rooney was criticized by the Women's Center and Shelter of Pittsburgh as a result of his comments. ESPN's Matt Mosley later wrote that Rooney's attempt to "explain that Harrison's heart was in the right place ... had to be one of the worst Public Relations moments in club history."
Steelers taxes and taxpayer funding
In August 2004, Pittsburgh Tribune-Review writer Bill Steigerwald reported that Rooney's team received $5 million in state funds for a new, $12 million amphitheater. This was in addition to the $158 million in public subsidies the organization received to build Heinz Field. Steigerwald wrote that: Since the Steelers don't own any taxable property, the Rooneys dodge city and county real estate taxes. Heinz Field, which the Steelers operate and profit from in myriad ways, is owned by taxpayers through the Sports and Exhibition Authority. The team offices, practice field and workout facilities are leased from UPMC's tax-exempt Sports Performance Complex. Steelers players pay payroll and occupation taxes like everyone else. Fans pay the 5 percent city amusement tax on each ticket. But the Steelers - like a few other profit-making corporations - aren't exempt from paying both a city mercantile tax (3 mills on concessions, etc.) and a city business privilege tax (6 mills on gross receipts). Tax officials say these taxes are highly complicated to compute – and the final amounts the Steelers pay are top secret.
Ambassador to Ireland
On March 17, 2009, President Obama announced he had nominated Rooney to become the next U.S. ambassador to Ireland, citing the owner's longstanding support for Irish-American charitable causes. In 2008, Rooney gave $30,000 to a Democratic Party committee that aided Obama's campaign, according to CQ MoneyLine, a non-partisan group that tracks political contributions. According to David Lewis, a Vanderbilt University political scientist and the author of The Politics of Presidential Appointments, "giving coveted ambassadorships to political supporters is a relatively low-risk way for presidents to repay campaign debts."
Secretary of State Hillary Clinton swore him in as the new ambassador to Ireland on July 1, 2009. Rooney presented his credentials to Irish President Mary McAleese on July 3, before making his first official speaking engagement at a lunch hosted by the American Chamber of Commerce Ireland.
In an April 2011 interview with The Irish Times, Rooney mentioned that he would consider resigning his ambassadorship in order to campaign for Obama's re-election. In a prepared statement released after that interview was published. Rooney stated, "I was asked what I could do to help [Obama] in the next election and I responded that the best thing I could do would be to help him campaign. Were I to do so, it would require my resignation as ambassador to Ireland. However, I am very pleased with my accomplishments to date and I intend to continue to carry out my duties." On December 14, 2012, he resigned as ambassador to Ireland and returned to Pittsburgh. He would eventually be replaced in June 2014 by Kevin O'Malley.
Personal life
Rooney was married to his wife Patricia Regan for sixty-five years. They first met in the office of the Steelers where she was working, and got married soon after. The couple had nine children together, although he was predeceased by two of his daughters. Rooney was also the maternal great-uncle of actresses Kate Mara and her sister Rooney Mara.
In 2008, he surprised many with his public endorsement of Barack Obama for president. The family had traditionally been very private on politics, even being rumored to have a Republican bent. Rooney responded to his public endorsement with: "When I think of Barack Obama's America I have great hope. I support his candidacy and look forward to his Presidency."
Rooney was the benefactor of the Rooney Prize for Irish Literature and Vice-Chairman of The American Ireland Fund. He was also a Founding Chairman of The Mentoring Partnership of Southwestern Pennsylvania. He was named to the PoliticsPA list of most influential individuals in Pennsylvania politics in 2002. In 2008, Rooney became an honorary Commander of the Most Excellent Order of the British Empire. He won the 2009 Jack Horrigan Memorial Award, presented by the Pro Football Writers Association to honor a league or club official "for his or her qualities and professional style in helping the pro football writers do their job." He was recognized in 2016 with a Lifetime Achievement Award from the Jackie Robinson Foundation.
Death
Rooney died at the age of 84 on April 13, 2017. Attendees at his funeral in Pittsburgh included former president Barack Obama and former secretary of state John Kerry. His burial was in Christ Our Redeemer Catholic Cemetery, Ross Township, Pennsylvania.
See also
List of U.S. political appointments that crossed party lines
References
External links
Biography for Ambassador Daniel M. Rooney – via archive.org
|-
|-
1932 births
2017 deaths
Ireland Funds
Ambassadors of the United States to Ireland
National Football League team presidents
Pittsburgh Steelers executives
Pittsburgh Steelers owners
Honorary Commanders of the Order of the British Empire
Pro Football Hall of Fame inductees
Duquesne University alumni
Pennsylvania Republicans
Sportspeople from Pittsburgh
Rooney family
American people of Irish descent
American Roman Catholics
| false |
[
"Benjamin Wilson (April 30, 1825 – April 26, 1901) was an American lawyer and Democratic politician who served as a United States Representative from West Virginia) (1875–1883) and as an assistant attorney general during the administration of President Grover Cleveland (1885 to 1893).\n\nEarly and family life\n\nBorn in Wilsonburg in Harrison County, Virginia (now West Virginia) to Mary Martin (1804-1831) and her husband, Josiah D. Wilson (1796–1868), Benjamin was named for his paternal grandfather, the patriot Col. Benjamin Wilson Sr. (1747-1827), a lieutenant in Lord Dunmore's Army. After fighting Native Americans, in 1774 Col. Wilson moved across the Allegheny Mountains, settled in the Tygart valley and founded \"Wilson's Fort\" (which he defended during the American Revolutionary War) and later represented what was then Monongelia County in the Virginia General Assembly and became first clerk of the Harrison County court. This Benjamin Wilson's maternal grandfather, William Martin (1763–1851), had been a patriot as well, serving as commissary for New Jersey troops before settling in Harrison County.\n\nAlthough Benjamin Wilson did not own slaves, his father Josiah Wilson owned seven or eight slaves in 1850, and ten slaves in 1860.\nThis Benjamin Wilson attended the Northwestern Virginia Academy in Clarksburg, Virginia (now West Virginia). He then traveled to Staunton, Virginia to attend the law school which Judge Briscoe Baldwin had begun in 1831.\n\nWilson married Susan Marsh in 1848, and they had a son, Stonewall Jackson Wilson (1862–1887), who survived to adulthood, as did three daughters: Buena Wilson Brown (1849–1930), Mary Drusilla Feeny (1851–1876), and Virginia Lee Wozencraft (1865–1893).\n\nCareer\n\nAdmitted to the Virginia bar in 1848, Wilson began his legal practice in Clarksburg. He was elected as commonwealth attorney for Harrison County following adoption of a new Virginia state constitution in 1851, and served from 1852 to 1860.\n\nPrelude and American Civil War\nVoters elected Wilson along with Unionist John S. Carlile as their delegates to the Virginia Secession Convention of 1861. Unlike Carlile, who voted against secession during both votes, Wilson abstained from the second vote, though he did sign the ordinance of secession. Later, he and Judge Gideon D. Camden (who owned slaves in both censuses) moved southward into Virginia after Union forces captured much of Harrison County.\n\nPostwar politician\n\nWilson was a member of West Virginia's State constitutional convention in 1871.\nAfter the adoption of West Virginia's second Constitution in 1872 (which re-enfranchised Confederates, among other changes) voters elected Wilson from West Virginia's 1st District. Re-elected three times, Wilson served in the 44th United States Congress and the next three Congresses (March 4, 1875 – March 3, 1883). Wilson was a delegate to the Democratic National Convention in 1872, the same year that he lost a campaign for election to the 43rd United States Congress. Two years later, Wilson won election as a Democrat to the Forty-fourth and was re-elected to the three succeeding Congresses (March 4, 1875 – March 3, 1883). During the Cleveland administration, Wilson was Assistant Attorney General of the United States (from 1885 to 1893).\n\nDeath and legacy\nCongressman Wilson died on April 26, 1901 in Clarksburg and was buried in the Odd Fellows Cemetery there.\n\nReferences\n\n1825 births\n1901 deaths\nWest Virginia Democrats\nPeople from Harrison County, West Virginia\nVirginia lawyers\nVirginia Secession Delegates of 1861\nMembers of the United States House of Representatives from West Virginia\nWest Virginia lawyers\nDemocratic Party members of the United States House of Representatives\n19th-century American politicians\nPeople of Virginia in the American Civil War",
"Harrison was a Major League Baseball left fielder who played in one game for the Washington Senators on September 27, .\n\nHarrison, whose first name is unknown, went hitless in two at bats, with one base on balls. His appearance did not impress either when fielding or batting, and a local newspaper's account of the game concluded of him that \"If Manager Manning intended Harrison's appearance yesterday as a farewell joke, it is all right, and we will accept an apology, but if he was really serious and believed the fellow possessed the requisite qualities of a ball tosser, the local big chief is either deluding himself or else he is the victim of a gold brick enterprise.\"\n\nReferences\n\nExternal links\n\nYear of birth missing\nYear of death missing\nWashington Senators (1901–1960) players\nMajor League Baseball left fielders"
] |
[
"Dan Rooney",
"James Harrison vs. Cedrick Wilson",
"What was the basis for Harrison vs Cedrick?",
"March 19, 2008; Rooney released wide receiver Cedrick Wilson from the Steelers, after he was arrested for punching his former girlfriend.",
"Was Wilson arrested for this?",
"March 8, Rooney failed to offer any type of discipline to linebacker James Harrison for slapping his girlfriend.",
"Did the case go to court?",
"When asked about the incident involving Wilson, Rooney stated that \"the Steelers do not condone violence of any kind, especially against women,\".",
"How did either man respond to the allegations?",
"Rooney said that the cases were different and stated that \"I know many are asking the question of [why] we released Wilson and Harrison we kept.",
"Who else responded or made a statement?",
"Rooney was criticized by the Women's Center and Shelter of Pittsburgh as a result of his comments. ESPN's Matt Mosley later wrote that Rooney's attempt to \"explain",
"What did they say about his explanations?",
"Rooney's attempt to \"explain that Harrison's heart was in the right place ... had to be one of the worst Public Relations moments in club history.\"",
"Did either WIlson or Harrison comment?",
"I don't know."
] |
C_d8423e1f67e340bca1b61c110b549c5a_1
|
What was the result of the disputes?
| 8 |
What was the result of the disputes involving Wilson, Rooney and Harrison?
|
Dan Rooney
|
On March 19, 2008; Rooney released wide receiver Cedrick Wilson from the Steelers, after he was arrested for punching his former girlfriend. However earlier that month, on March 8, Rooney failed to offer any type of discipline to linebacker James Harrison for slapping his girlfriend. When asked about the incident involving Wilson, Rooney stated that "the Steelers do not condone violence of any kind, especially against women,". However, he was then confronted about this by Ed Bouchette and Michael A. Fuoco of the Pittsburgh Post-Gazette, who asked why Harrison was not punished for committing the same crime. Rooney said that the cases were different and stated that "I know many are asking the question of [why] we released Wilson and Harrison we kept. The circumstances--I know of the incidents, they are completely different. In fact, when I say we don't condone these things, we don't, but we do have to look at the circumstances that are involved with other players and things like that, so they're not all the same. What James Harrison was doing and how the incident occurred, what he was trying to do was really well worth it. He was doing something that was good, wanted to take his son to get baptized where he lived and things like that. She said she didn't want to do it." Rooney later said that Harrison had no intention of harming his girlfriend when he went to her house to pick up his son. "The situation angered him. He didn't go there with intent." Meanwhile, Rooney stated that the Wilson case was different. According to Rooney "[Wilson] knew what he was doing. He knew where his [former] girlfriend was and went to the bar looking for her. When he got there he punched her. That's different and I understand he expressed no regret. Afterwards Rooney was criticized by the Women's Center and Shelter of Pittsburgh as a result of his comments. ESPN's Matt Mosley later wrote that Rooney's attempt to "explain that Harrison's heart was in the right place ... had to be one of the worst Public Relations moments in club history." CANNOTANSWER
|
CANNOTANSWER
|
Daniel Milton Rooney (July 20, 1932 – April 13, 2017) was an American executive and diplomat best known for his association with the Pittsburgh Steelers, an American football team in the National Football League (NFL), and son of the Steelers' founder, Art Rooney. He held various roles within the organization, most notably as president, owner and chairman.
Rooney implemented a philosophy and management style that emphasized open, practical and efficient management. The Steelers were very successful during his tenure, winning 15 division championships, eight AFC Championships, and an NFL record six Super Bowl Championships. In 2000, he was elected to the Pro Football Hall of Fame for his contributions to the game. He was also credited with spearheading a requirement that NFL teams with head coach and general manager vacancies interview at least one minority candidate, which has become known as the "Rooney Rule".
Outside of football, Rooney served as the United States Ambassador to Ireland, from July 2009 until his resignation in December 2012. He was also co-founder of the Ireland-related fundraising organization The Ireland Funds.
Early life and education
Daniel Milton Rooney was born in Pittsburgh, Pennsylvania, the son of Kathleen (née McNulty) and Pittsburgh Steelers' owner Art Rooney. In the Steelers organization, Rooney was involved in many aspects of the franchise from the time he was a young boy, often assisting his father at Pitt Stadium and Forbes Field. He grew up in the North Side neighborhood of Pittsburgh and attended North Catholic High School where he excelled as the team's quarterback. He was also the coach for the St. Peter's Elementary school football team, which was quarterbacked by future CIA Director and lifelong friend Michael Hayden. Rooney was mentored by Fran Fogerty, Joe Carr and Ed Kiely. These men assisted in teaching him the business of football. After graduating from Duquesne University, with his major in accounting, he knew football was what he wanted to pursue.
Career
In 1960, Rooney originally worked as director of personnel for the Steelers. By early 1969, Rooney was managing the day-to-day operations of the team and personally selected the coaching hire of Chuck Noll. Rooney was appointed team president in 1975 and was officially given full operational control of the franchise. His father remained Chairman and President Emeritus, as well as the public face of the franchise, until his death in 1988.
Rooney generally avoided the spotlight, but he was a very active owner behind the scenes. Rooney helped lead the negotiations of the collective bargaining agreement of 1982, and is largely credited both by owners and players of having ended a strike that lasted half of the season. He was also one of the main architects of the salary cap, which was implemented in 1993. Rooney became the patriarch and controlling owner of the team, following the death of his father. In 2003, Rooney followed in his father's footsteps by slowly ceding day-to-day operations of the franchise to the next generation of the family. While Rooney was still chairman, and to many fans, the public face of the team, his son Art Rooney II assumed full operational control of the Steelers.
In 1995, Rooney was influential in trying to stop the Steelers' biggest rival, the Cleveland Browns, from moving to Baltimore. Along with Buffalo Bills owner Ralph Wilson, he was the only owner to vote against the move and was a driving force in ensuring the Browns return to Cleveland in 1999.
Sale of the Steelers
On July 7, 2008, Rooney and his son, team president Art Rooney II, announced that they were seeking to buy out his brothers' shares in the team. The team initially said that some of Rooney's four brothers want to "get out of the NFL and focus their business efforts on their racetracks and other interests." The Wall Street Journal reported that the Steelers had "been secretly shopped to potential buyers amid continuing divisions among the five sons of the team's founder, Art Rooney Sr." This forced the Steelers to announce that prolonged, ongoing negotiations were under way concerning the "restructuring" of ownership, which could have resulted in the sale of the franchise or a consolidation of control within the Rooney family. Discussions had supposedly been taking place for the last two years. The use of the phrase "ensure compliance with NFL ownership policies" referred to the family's gambling operation. At the time of publication, they owned Yonkers Raceway, a harness racing track outside of New York City, and Palm Beach Kennel Club, a greyhound racetrack in West Palm Beach. The New York racetrack had been owned by the family since 1972, and the Florida racetrack had been owned since 1970. The team said "these facilities have added forms of gaming that are inconsistent with NFL gambling policy.", relating to the then-recent installation of slot machines. According to league policy, no NFL owner may own, directly or indirectly, any interests in a gambling casino. The NFL defines any facility with slot machines as a casino.
The Steelers' statement said that NFL commissioner Roger Goodell asked former NFL commissioner Paul Tagliabue to "serve as a league representative in discussions with the family in order to reach an agreement on the separation of the gambling interests and on a restructuring of ownership if the team is sold." Any sale involving an NFL team is subject to a league review and must be approved by 75% of member clubs. The Steelers were valued at $929 million by Forbes magazine in September 2007. However, Rooney's brothers: Art Jr., Tim, Patrick and John released a statement confirming that they retained Goldman, Sachs & Co. to put a price tag on the franchise, and analysts in New York placed its value between $800 million and $1.2 billion. Their shares were likely worth more than Dan and Art II had offered in the initial buyout, and it could have raised even higher and still remain under the NFL's ceiling of $150 million in ownership debt. Each Rooney brothers' stake was worth about $160 million, or less than Dan was believed to be offering. Art Jr. was the brother who might have determined if the majority of the team remains in the Rooney family. He was formerly a Pro Football Hall of Fame nominee for his drafting skills, and was fired by Dan in 1987. The brothers likely would not have retained Goldman Sachs if they felt they could soon work out a deal with Dan. The move also reflected on their fears that selling to Dan, coupled with the ensuing taxes, could leave their children and grandchildren with far less money than their shares are worth. There was also concern if any of the brothers were to die without a change in ownership, their heirs would face estate taxes of up to 45% of the shares' value. Rooney worked with Morgan Stanley and PNC Financial Services to attempt to bring in additional investors who might prop up his buyout attempt.
According to The Wall Street Journal, Duquesne Capital Management chairman Stanley Druckenmiller was apparently interested in acquiring the team. On July 8, The Associated Press reported that a deal could be reached within days to sell a majority interest in the Steelers to Druckenmiller, taking control of the franchise away from the Rooney family. However Rooney, stopped short of guaranteeing that he and his son, would be able to stay at the helm of a team. He hinted that "many people," not just Druckenmiller, might be interested in the NFL franchise. Later, NFL spokesman Greg Aiello stated that the NFL would continue to support the Rooneys in their efforts to retain control of the Steelers, and maintained the franchise would not relocate to another city, only that the ownership will either change or be consolidated.
On November 21, the Pittsburgh Post-Gazette reported that Tim and Pat planned to sell each of their 16% stake in the Steelers, so they could remain involved in racetracks and casinos in Yonkers and West Palm Beach. John and Art Jr. each planned to keep a little less than half of their 16% stake, and Dan and Art II, were trying to acquire 30% of the team to abide by NFL policy and compiled a list of investors who, in essence, would become their new partners in the franchise.
Controversies
James Harrison vs. Cedrick Wilson
On March 19, 2008, Rooney released wide receiver Cedrick Wilson from the Steelers, after he was arrested for punching his former girlfriend. However earlier that month, on March 8, Rooney failed to offer any type of discipline to linebacker James Harrison for slapping his girlfriend. When asked about the incident involving Wilson, Rooney stated that "the Steelers do not condone violence of any kind, especially against women". However, he was then confronted about this by Ed Bouchette and Michael A. Fuoco of the Pittsburgh Post-Gazette, who asked why Harrison was not punished for committing the same crime. Rooney said that the cases were different and stated that "I know many are asking the question of [why] we released Wilson and Harrison we kept. The circumstances—I know of the incidents, they are completely different. In fact, when I say we don't condone these things, we don't, but we do have to look at the circumstances that are involved with other players and things like that, so they're not all the same. What James Harrison was doing and how the incident occurred, what he was trying to do was really well worth it. He was doing something that was good, wanted to take his son to get baptized where he lived and things like that. She said she didn't want to do it."
Rooney later said that Harrison had no intention of harming his girlfriend when he went to her house to pick up his son. "The situation angered him. He didn't go there with intent." Meanwhile, Rooney stated that the Wilson case was different. According to Rooney "[Wilson] knew what he was doing. He knew where his [former] girlfriend was and went to the bar looking for her. When he got there he punched her. That's different and I understand he expressed no regret.
Afterwards, Rooney was criticized by the Women's Center and Shelter of Pittsburgh as a result of his comments. ESPN's Matt Mosley later wrote that Rooney's attempt to "explain that Harrison's heart was in the right place ... had to be one of the worst Public Relations moments in club history."
Steelers taxes and taxpayer funding
In August 2004, Pittsburgh Tribune-Review writer Bill Steigerwald reported that Rooney's team received $5 million in state funds for a new, $12 million amphitheater. This was in addition to the $158 million in public subsidies the organization received to build Heinz Field. Steigerwald wrote that: Since the Steelers don't own any taxable property, the Rooneys dodge city and county real estate taxes. Heinz Field, which the Steelers operate and profit from in myriad ways, is owned by taxpayers through the Sports and Exhibition Authority. The team offices, practice field and workout facilities are leased from UPMC's tax-exempt Sports Performance Complex. Steelers players pay payroll and occupation taxes like everyone else. Fans pay the 5 percent city amusement tax on each ticket. But the Steelers - like a few other profit-making corporations - aren't exempt from paying both a city mercantile tax (3 mills on concessions, etc.) and a city business privilege tax (6 mills on gross receipts). Tax officials say these taxes are highly complicated to compute – and the final amounts the Steelers pay are top secret.
Ambassador to Ireland
On March 17, 2009, President Obama announced he had nominated Rooney to become the next U.S. ambassador to Ireland, citing the owner's longstanding support for Irish-American charitable causes. In 2008, Rooney gave $30,000 to a Democratic Party committee that aided Obama's campaign, according to CQ MoneyLine, a non-partisan group that tracks political contributions. According to David Lewis, a Vanderbilt University political scientist and the author of The Politics of Presidential Appointments, "giving coveted ambassadorships to political supporters is a relatively low-risk way for presidents to repay campaign debts."
Secretary of State Hillary Clinton swore him in as the new ambassador to Ireland on July 1, 2009. Rooney presented his credentials to Irish President Mary McAleese on July 3, before making his first official speaking engagement at a lunch hosted by the American Chamber of Commerce Ireland.
In an April 2011 interview with The Irish Times, Rooney mentioned that he would consider resigning his ambassadorship in order to campaign for Obama's re-election. In a prepared statement released after that interview was published. Rooney stated, "I was asked what I could do to help [Obama] in the next election and I responded that the best thing I could do would be to help him campaign. Were I to do so, it would require my resignation as ambassador to Ireland. However, I am very pleased with my accomplishments to date and I intend to continue to carry out my duties." On December 14, 2012, he resigned as ambassador to Ireland and returned to Pittsburgh. He would eventually be replaced in June 2014 by Kevin O'Malley.
Personal life
Rooney was married to his wife Patricia Regan for sixty-five years. They first met in the office of the Steelers where she was working, and got married soon after. The couple had nine children together, although he was predeceased by two of his daughters. Rooney was also the maternal great-uncle of actresses Kate Mara and her sister Rooney Mara.
In 2008, he surprised many with his public endorsement of Barack Obama for president. The family had traditionally been very private on politics, even being rumored to have a Republican bent. Rooney responded to his public endorsement with: "When I think of Barack Obama's America I have great hope. I support his candidacy and look forward to his Presidency."
Rooney was the benefactor of the Rooney Prize for Irish Literature and Vice-Chairman of The American Ireland Fund. He was also a Founding Chairman of The Mentoring Partnership of Southwestern Pennsylvania. He was named to the PoliticsPA list of most influential individuals in Pennsylvania politics in 2002. In 2008, Rooney became an honorary Commander of the Most Excellent Order of the British Empire. He won the 2009 Jack Horrigan Memorial Award, presented by the Pro Football Writers Association to honor a league or club official "for his or her qualities and professional style in helping the pro football writers do their job." He was recognized in 2016 with a Lifetime Achievement Award from the Jackie Robinson Foundation.
Death
Rooney died at the age of 84 on April 13, 2017. Attendees at his funeral in Pittsburgh included former president Barack Obama and former secretary of state John Kerry. His burial was in Christ Our Redeemer Catholic Cemetery, Ross Township, Pennsylvania.
See also
List of U.S. political appointments that crossed party lines
References
External links
Biography for Ambassador Daniel M. Rooney – via archive.org
|-
|-
1932 births
2017 deaths
Ireland Funds
Ambassadors of the United States to Ireland
National Football League team presidents
Pittsburgh Steelers executives
Pittsburgh Steelers owners
Honorary Commanders of the Order of the British Empire
Pro Football Hall of Fame inductees
Duquesne University alumni
Pennsylvania Republicans
Sportspeople from Pittsburgh
Rooney family
American people of Irish descent
American Roman Catholics
| false |
[
"The 1973 Major League Baseball lockout occurred from February 8 to February 25. The lockout did not result in any regular season games being canceled, but the start of spring training was delayed.\n\nThe lockout was initiated by Major League Baseball (MLB) team owners, who wanted an agreement with the Major League Baseball Players Association (MLBPA) on the use of arbitration in settling salary disputes. Resolution was reached via a three-year agreement between owners and the MLBPA, under which players with two years of consecutive major-league service (or three years of non-consecutive service) could use arbitration. Only \"early\" spring training (for pitchers and catchers) was impacted, as the dispute was settled before the contractual start of spring training, March 1.\n\nSee also\n 1973 Major League Baseball season\n\nReferences\n\nMajor League Baseball lockout, 1973\nlockout\nMajor League Baseball labor disputes",
"The General Act for the Pacific Settlement of International Disputes is a multilateral convention concluded in Geneva on September 26, 1928. It went into effect on August 16, 1929 and was registered in League of Nations Treaty Series on the same day. The treaty was ultimately ratified by 22 states. It was subsequently denounced by Spain.\n\nTerms of the act\nThe act provided frameworks for resolving international disputes by means of either establishing a conciliation commission (articles 1-16), establishing an arbitration tribunal (art. 21-28), or deferring failed disputes to the Permanent Court of International Justice (art. 17-20), thus combining three different 'model convention' proposals from the League's Commission of Arbitration and Security - set up by the League's Preparation Commission in 1927 - into one unified act. \n\nThe General Act reflected divisions within the League over how to achieve the collective security envisioned by Articles 11 and 16 of the League of Nations Covenant, e.g. Fridtjof Nansen championed the use of compulsory arbitration, while the United Kingdom refused the idea of compulsory deferment of even a limited range of disputes to the Permanent Court. \n\nThe result was a treaty which did not contain the automatic mechanisms of the failed 1924 Geneva Protocol, and which was considered an unambitious substitute in comparison.\n\nFinland produced an additional suggestion that nations should provide financial assistance to attacked nations, while Germany suggested that nations pledge themselves to adopting any resolution by the League Council, that the Council considered would reduce the risk of war. The Finnish and German proposals - although supported unanimously in the League's Assembly - were not incorporated into the General Act but deferred for later consideration by the League Council.\n\nFurther developments\nFollowing the Second World War, the United Nations sought to replace the 1928 document with a more up to date one. As a result, it was replaced in 1949 by a revised act drafted by the United Nations Organization. It also served as the basis for the European Convention for the Peaceful Settlement of Disputes, concluded in 1957.\n\nSee also\n Geneva Protocol (1924)\n Kellogg–Briand Pact\n\nNotes\n\nExternal links\n Text of the 1928 Act\n Table of accessions to the act\n Text of the revised 1949 Act\n Anne Peters, International Dispute Settlement: A Network of Cooperational Duties\n\nTreaties concluded in 1928\nTreaties entered into force in 1929\nInterwar-period treaties\nTreaties of Belgium\nTreaties of the United Kingdom\nTreaties of Canada\nTreaties of Australia\nTreaties of New Zealand\nTreaties of the Irish Free State\nTreaties of British India\nTreaties of Denmark\nTreaties of Estonia\nTreaties of the Ethiopian Empire\nTreaties of Finland\nTreaties of the French Third Republic\nTreaties of the Kingdom of Greece\nTreaties of the Kingdom of Italy (1861–1946)\nTreaties of Latvia\nTreaties of Luxembourg\nTreaties of Norway\nTreaties of Peru\nTreaties of Switzerland\nTreaties of Turkey\nTreaties of the Netherlands"
] |
[
"Pete Maravich",
"Legacy"
] |
C_944020ab787349289f7fba127ae6bd15_0
|
What was Maravich's legacy?
| 1 |
What was Pete Maravich's legacy?
|
Pete Maravich
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Maravich was survived by his wife Jackie and his two sons Jaeson, who was 8 years old, and Josh, aged 5. Only the previous year, Maravich had taken Jaeson to the 1987 NBA All-Star Game in Seattle, Washington, and introduced him to Michael Jordan. Since Maravich's children were very young when he died, Jackie Maravich initially shielded them from unwanted media attention, not even allowing Jaeson and Josh to attend their father's funeral. However, a proclivity to basketball seemed to be an inherited trait. During a 2003 interview, Jaeson told USA Today that, when he was still only a toddler, "My dad passed me a (Nerf) basketball, and I've been hooked ever since... . My dad said I shot and missed, and I got mad and I kept shooting. He said his dad told him he did the same thing." Despite some setbacks coping with their father's death and without the benefit that his tutelage might have provided, both sons eventually were inspired to play high school and collegiate basketball--Josh at his father's alma mater, LSU. On June 27, 2014, Governor Bobby Jindal proposed that LSU erect a statue of Maravich outside the Assembly Center which already bears the basketball star's name. Former coach Dale Brown opposes such a monument, but Maravich's widow, Jackie McLachlan, said that she had been promised a statue after the passing of her husband. McLachlan said that she has noticed how fans struggle to get the Maravich name on the Assembly Center into a camera frame. In February 2016, the LSU Athletic Hall of Fame Committee unanimously approved a proposal that a statue honoring Maravich be installed on the campus. CANNOTANSWER
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Maravich was survived by his wife Jackie and his two sons Jaeson, who was 8 years old, and Josh, aged 5.
|
Peter Press Maravich (; June 22, 1947 – January 5, 1988), known by his nickname Pistol Pete, was an American professional basketball player. Maravich was born in Aliquippa, Pennsylvania, part of the Pittsburgh metropolitan area, and raised in the Carolinas. Maravich starred in college with the LSU Tigers while playing for his father, head coach Press Maravich. He is the all-time leading NCAA Division I scorer with 3,667 points scored and an average of 44.2 points per game. All of his accomplishments were achieved before the adoption of the three-point line and shot clock, and despite being unable to play varsity as a freshman under then-NCAA rules. He played for three National Basketball Association (NBA) teams until injuries forced his retirement in 1980 following a 10-year professional career.
One of the youngest players ever inducted into the Naismith Memorial Basketball Hall of Fame, Maravich was considered to be one of the greatest creative offensive talents ever and one of the best ball handlers of all time. He died suddenly at age 40 during a pick-up game in 1988 as a consequence of an undetected heart defect.
Early life
Maravich was born to Peter "Press" Maravich (1915–1987) and Helen Gravor Maravich (1925–1974) in Aliquippa, a steel town in Beaver County in western Pennsylvania, near Pittsburgh. Maravich amazed his family and friends with his basketball abilities from an early age. He enjoyed a close but demanding father-son relationship that motivated him toward achievement and fame in the sport. Maravich's father was the son of Serbian immigrants and a professional player–turned-coach. He showed him the fundamentals starting when he was seven years old. Obsessively, Maravich spent hours practicing ball control tricks, passes, head fakes, and long-range shots.
Maravich played high school varsity ball at Daniel High School in Central, South Carolina, a year before being old enough to attend the school. While at Daniel from 1961 to 1963, Maravich participated in the school's first-ever game against a team from an all-black school. In 1963 his father departed from his position as head basketball coach at Clemson University and joined the coaching staff at North Carolina State University. The Maravich family's subsequent move to Raleigh, North Carolina, allowed Maravich to attend Needham B. Broughton High School. His high school years also saw the birth of his famous moniker. From his habit of shooting the ball from his side, as if holding a revolver, Maravich became known as "Pistol" Pete Maravich. He graduated from Needham B. Broughton High School in 1965 and then attended Edwards Military Institute, where he averaged 33 points per game. Maravich never liked school and did not like Edwards Military Institute. It was known that Press Maravich was extremely protective of Maravich and would guard against any issue that might come up during his adolescence. Press threatened to shoot Maravich with a 45 caliber pistol if he drank or got into trouble. Maravich was 6 feet 4 inches in high school and was getting ready to play in college when his father took a coaching position at Louisiana State University.
College career
At that time NCAA rules prohibited first-year students from playing at varsity level, which forced Maravich to play on the freshman team. In his first game, Maravich put up 50 points, 14 rebounds and 11 assists against Southeastern Louisiana College.
In only three years playing on the varsity team (and under his father's coaching) at LSU, Maravich scored 3,667 points—1,138 of those in 1967–68, 1,148 in 1968–69, and 1,381 in 1969–70—while averaging 43.8, 44.2, and 44.5 points per game, respectively. For his collegiate career, the 6'5" (1.96 m) guard averaged 44.2 points per game in 83 contests and led the NCAA in scoring for each of his three seasons.
Maravich's long-standing collegiate scoring record is particularly notable when three factors are taken into account:
First, because of the NCAA rules that prohibited him from taking part in varsity competition during his first year as a student, Maravich was prevented from adding to his career record for a full quarter of his time at LSU. During this first year, Maravich scored 741 points in freshman competition.
Second, Maravich played before the advent of the three-point line. This significant difference has raised speculation regarding just how much higher his records would be, given his long-range shooting ability and how such a component might have altered his play. Writing for ESPN.com, Bob Carter stated, "Though Maravich played before [...] the 3-point shot was established, he loved gunning from long range." It has been reported that former LSU coach Dale Brown charted every shot Maravich scored and concluded that, if his shots from three-point range had been counted as three points, Maravich's average would have totaled 57 points per game. And 12 Three Pointer per game.
Third, the shot clock had also not yet been instituted in NCAA play during Maravich's college career. (A time limit on ball possession speeds up play, mandates an additional number of field goal attempts, eliminates stalling, and increases the number of possessions throughout the game, all resulting in higher overall scoring.)
More than 50 years later, however, many of his NCAA and LSU records still stand. Maravich was a three-time All-American. Though he never appeared in the NCAA tournament, Maravich played a key role in turning around a lackluster program that had posted a 3–20 record in the season prior to his arrival. Maravich finished his college career in the 1970 National Invitation Tournament, where LSU finished fourth.
NCAA career statistics
Freshman
At this time, freshmen did not play on the varsity team and these stats do not count in the NCAA record books.
|-
| style="text-align:left;"| 1966–67
| style="text-align:left;"| Louisiana State
| 19 || 19 || ... || .452 || ... || .833 || 10.4 || ... || ... || ... || 43.6
Varsity
|-
| style="text-align:left;"| 1967–68
| style="text-align:left;"| Louisiana State
| 26 || 26 || ... || .423 || ... || .811 || 7.5 || 4.0 || ... || ... || 43.8
|-
| style="text-align:left;"| 1968–69
| style="text-align:left;"| Louisiana State
| 26 || 26 || ... || .444 || ... || .746 || 6.5 || 4.9 || ... || ... || 44.2
|-
| style="text-align:left;"| 1969–70
| style="text-align:left;"| Louisiana State
| 31 || 31 || ... || .447 || ... || .773 || 5.3 || 6.2 || ... || ... || 44.5
|-
| style="text-align:left;" colspan=2|Career
| 83 || 83 || ... || .438 || ... || .775 || 6.5 || 5.1 || ... || ... || 44.2
Professional career
Atlanta Hawks
The Atlanta Hawks selected Maravich with the third pick in the first round of the 1970 NBA draft, where he played for coach Richie Guerin. He was not a natural fit in Atlanta, as the Hawks already boasted a top-notch scorer at the guard position in Lou Hudson. In fact, Maravich's flamboyant style stood in stark contrast to the conservative play of Hudson and star center Walt Bellamy. And it did not help that many of the veteran players resented the $1.9 million contract that Maravich received from the team—a very large salary at that time.
Maravich appeared in 81 games and averaged 23.2 points per contest—good enough to earn NBA All-Rookie Team honors. And he managed to blend his style with his teammates, so much so that Hudson set a career high by scoring 26.8 points per game. But the team stumbled to a 36–46 record—12 wins fewer than in the previous season. Still, the Hawks qualified for the playoffs, where they lost to the New York Knicks in the first round.
Maravich struggled somewhat during his second season. His scoring average dipped to 19.3 points per game, and the Hawks finished with another disappointing 36–46 record. Once again they qualified for the playoffs, and once again they were eliminated in the first round. However, Atlanta fought hard against the Boston Celtics, with Maravich averaging 27.7 points in the series.
Maravich erupted in his third season, averaging 26.1 points (5th in the NBA) and dishing out 6.9 assists per game (6th in the NBA). With 2,063 points, he combined with Hudson (2,029 points) to become only the second set of teammates in league history to each score over 2,000 points in a single season. The Hawks soared to a 46–36 record, but again bowed out in the first round of the playoffs. However, the season was good enough to earn Maravich his first-ever appearance in the NBA All-Star Game, and also All-NBA Second Team honors.
The following season (1973–74) was his best yet—at least in terms of individual accomplishments. Maravich posted 27.7 points per game—second in the league behind Bob McAdoo—and earned his second appearance in the All-Star Game. However, Atlanta sank to a disappointing 35–47 record and missed the postseason entirely.
New Orleans Jazz
In the summer of 1974, an expansion franchise was preparing for its first season of competition in the NBA. The New Orleans Jazz were looking for something or someone to generate excitement among their new basketball fans. With his exciting style of play, Maravich was seen as the perfect man for the job. Additionally, he was already a celebrity in the state due to his accomplishments at LSU. To acquire Maravich, the Jazz traded two players and four draft picks to Atlanta.
The expansion team struggled mightily in its first season. Maravich managed to score 21.5 points per game, but shot a career-worst 41.9 percent from the floor. The Jazz posted a 23–59 record, worst in the NBA.
Jazz management did its best to give Maravich a better supporting cast. The team posted a 38–44 record in its second season (1975–76) but did not qualify for postseason play, despite the dramatic improvement. Maravich struggled with injuries that limited him to just 62 games that season, but he averaged 25.9 points per contest (third behind McAdoo and Kareem Abdul-Jabbar) and continued his crowd-pleasing antics. He was elected to the All-NBA First Team that year.
The following season (1976–77) was his most productive in the NBA. He led the league in scoring with an average of 31.1 points per game. He scored 40 points or more in 13 games, and 50 or more in 4 games. His 68-point masterpiece against the Knicks was at the time the most points ever scored by a guard in a single game, and only two players at any position had ever scored more: Wilt Chamberlain and Elgin Baylor. Baylor was head coach of the Jazz at that time.
Maravich earned his third all-star game appearance and was honored as All-NBA First Team for the second consecutive season.
The following season, injuries to both knees forced him to miss 32 games during the 1977–78 season. Despite being robbed of some quickness and athleticism, he still managed to score 27.0 points per game, and he also added 6.7 assists per contest, his highest average as a member of the Jazz. Many of those assists went to new teammate Truck Robinson, who had joined the franchise as a free agent during the off-season. In his first year in New Orleans, he averaged 22.7 points and a league-best 15.7 rebounds per game. His presence prevented opponents from focusing their defensive efforts entirely on Maravich, and it lifted the Jazz to a 39–43 record—just short of making the club's first-ever appearance in the playoffs.
Knee problems plagued Maravich for the rest of his career. He played in just 49 games during the 1978–79 season. He scored 22.6 points per game that season and earned his fifth and final All-Star appearance. But his scoring and passing abilities were severely impaired. The team struggled on the court, and faced serious financial trouble as well. Management became desperate to make some changes. The Jazz traded Robinson to the Phoenix Suns, receiving draft picks and some cash in return. However, in 1979, team owner Sam Battistone moved the Jazz to Salt Lake City.
Final season
The Utah Jazz began play in the 1979–80 season. Maravich moved with the team to Salt Lake City, but his knee problems were worse than ever. He appeared in 17 games early in the season, but his injuries prevented him from practicing much, and new coach Tom Nissalke had a strict rule that players who didn't practice were not allowed to play in games. Thus, Maravich was parked on the bench for 24 straight games, much to the dismay of Utah fans and to Maravich himself. During that time, Adrian Dantley emerged as the team's franchise player.
The Jazz placed Maravich on waivers in January 1980. He signed with the Celtics, the top team in the league that year, led by rookie superstar Larry Bird. Maravich adjusted to a new role as part-time contributor, giving Boston a "hired gun" off the bench. He helped the team post a 61–21 record in the regular season, best in the league. And, for the first time since his early career in Atlanta, Maravich was able to participate in the NBA playoffs. He appeared in nine games during that postseason, but the Celtics were upended by Julius Erving and the Philadelphia 76ers in the Eastern Conference finals, four games to one.
Realizing that his knee problems would never go away, Maravich retired at the end of that season. The NBA instituted the 3-point shot just in time for Maravich's last season in the league. He had always been famous for his long-range shooting, and his final year provided an official statistical gauge of his abilities. Between his limited playing time in Utah and Boston, he made 10 of 15 3-point shots, giving him a career 66.7% completion rate behind the arc.
During his ten-year career in the NBA, Maravich played in 658 games, averaging 24.2 points and 5.4 assists per contest. In 1987, he was inducted into the Naismith Memorial Basketball Hall of Fame, and his No. 7 jersey has been retired by both the Jazz and the New Orleans Pelicans, as well as his No. 44 jersey by the Atlanta Hawks.
NBA career statistics
Regular season
|-
| style="text-align:left;"| 1970–71
| style="text-align:left;"| Atlanta
| 81 || ... || 36.1 || .458 || ... || .800 || 3.7 || 4.4 || ... || ... || 23.2
|-
| style="text-align:left;"| 1971–72
| style="text-align:left;"| Atlanta
| 66 || ... || 34.9 || .427 || ... || .811 || 3.9 || 6.0 || ... || ... || 19.3
|-
| style="text-align:left;"| 1972–73
| style="text-align:left;"| Atlanta
| 79 || ... || 39.1 || .441 || ... || .800 || 4.4 || 6.9 || ... || ... || 26.1
|-
| style="text-align:left;"| 1973–74
| style="text-align:left;"| Atlanta
| 76 || ... || 38.2 || .457 || ... || .826 || 4.9 || 5.2 || 1.5 || .2 || 27.7
|-
| style="text-align:left;"| 1974–75
| style="text-align:left;"| New Orleans
| 79 || ... || 36.1 || .419 || ... || .811 || 5.3 || 6.2 || 1.5 || .2 || 21.5
|-
| style="text-align:left;"| 1975–76
| style="text-align:left;"| New Orleans
| 62 || ... || 38.3 || .459|| ... || .811 || 4.8 || 5.4 || 1.4 || .4 || 25.9
|-
| style="text-align:left;"| 1976–77
| style="text-align:left;"| New Orleans
| 73 || ... || 41.7 || .433 || ... || .835 || 5.1 || 5.4 || 1.2 || .3 ||style="background:#cfecec;"| 31.1*
|-
| style="text-align:left;"| 1977–78
| style="text-align:left;"| New Orleans
| 50 || ... || 40.8 || .444 || ... || .870 || 3.6 || 6.7 || 2.0 || .2 || 27.0
|-
| style="text-align:left;"| 1978–79
| style="text-align:left;"| New Orleans
| 49 || ... || 37.2 || .421 || ... || .841 || 2.5 || 5.0 || 1.2 || .4 || 22.6
|-
| style="text-align:left;"| 1979–80
| style="text-align:left;"| Utah
| 17 || ... || 30.7 || .412 || .636 || .820 || 2.4 || 3.2 || .9 || .2 || 17.1
|-
| style="text-align:left;"| 1979–80
| style="text-align:left;"| Boston
| 26 || 4 || 17.0 || .494 || .750 ||.909 || 1.5 || 1.1 || .3 || .1 || 11.5
|- class="sortbottom"
| style="text-align:center;" colspan="2"| Career
| 658 || ... || 37.0 || .441 || .667 || .820 || 4.2 || 5.4 || 1.4 || .3 || 24.2
|- class="sortbottom"
| style="text-align:center;" colspan="2"| All-Star
| 4 || 4 || 19.8 || .409 || ... || .778 || 2.0 || 3.8 || 1.0 || 0.0 || 10.8
Playoffs
|-
| style="text-align:left;"| 1971
| style="text-align:left;"| Atlanta
| 5 || ... || 39.8 || .377 || ... || .692 || 5.2 || 4.8 || ... || ... || 22.0
|-
| style="text-align:left;"| 1972
| style="text-align:left;"| Atlanta
| 6 || ... || 36.5 || .446 || ... || .817 || 5.3 || 4.7 || ... || ... || 27.7
|-
| style="text-align:left;"| 1973
| style="text-align:left;"| Atlanta
| 6 || ... || 39.0 || .419 || ... || .794 || 4.8 || 6.7 || ... || ... || 26.2
|-
| style="text-align:left;"| 1980
| style="text-align:left;"| Boston
| 9 || ... || 11.6 || .490 || .333 || .667 || .9 || .7 || .3 || .0 || 6.0
|-
| style="text-align:center;" colspan=2|Career
| 26 || ... || 29.1 || .423 || .333 || .784 || 3.6 || 3.8 || ... || ... || 18.7
|-
Later life and death
After injuries forced his retirement from the game in the fall of 1980, Maravich became a recluse for two years. Through it all, Maravich said he was searching "for life". He tried the practices of yoga and Hinduism, read Trappist monk Thomas Merton's The Seven Storey Mountain and took an interest in the field of ufology, the study of unidentified flying objects. He also explored vegetarianism and macrobiotics, adopting a vegetarian diet in 1982. Eventually, he became a born-again Christian, embracing evangelical Christianity. A few years before his death, Maravich said, "I want to be remembered as a Christian, a person that serves Him [Jesus] to the utmost, not as a basketball player."
On January 5, 1988, Maravich collapsed and died of heart failure at age 40 while playing in a pickup basketball game in the gym at First Church of the Nazarene in Pasadena, California, with a group that included evangelical author James Dobson. Maravich had flown out from his home in Louisiana to tape a segment for Dobson's radio show that aired later that day. Dobson has said that Maravich's last words, less than a minute before he died, were "I feel great." An autopsy revealed the cause of death to be a rare congenital defect; he had been born with a missing left coronary artery, a vessel that supplies blood to the muscle fibers of the heart. His right coronary artery was grossly enlarged and had been compensating for the defect.
Maravich died the year after his father's passing and a number of years after his mother, who had died of suicide with a self-inflicted gunshot. Maravich is buried at Resthaven Gardens of Memory and Mausoleum in Baton Rouge, Louisiana.
Legacy
Maravich was survived by his wife Jackie and his sons Jaeson, who was 8 years old at the time of his death, and Josh, aged 5. Only the previous year, Maravich had taken Jaeson to the 1987 NBA All-Star Game in Seattle, Washington, and introduced him to Michael Jordan.
Since Maravich's children were very young when he died, Jackie Maravich initially shielded them from unwanted media attention, not even allowing Jaeson and Josh to attend their father's funeral. However, a proclivity to basketball seemed to be an inherited trait. During a 2003 interview, Jaeson told USA Today that, when he was still only a toddler, "My dad passed me a (Nerf) basketball, and I've been hooked ever since ... My dad said I shot and missed, and I got mad and I kept shooting. He said his dad told him he did the same thing."
Despite some setbacks coping with their father's death and without the benefit that his tutelage might have provided, both sons eventually were inspired to play high school and collegiate basketball—Josh at his father's alma mater, LSU.
On June 27, 2014, Governor Bobby Jindal proposed that LSU erect a statue of Maravich outside the Assembly Center, which already bore the basketball star's name. Former coach Dale Brown opposed such a monument, but Maravich's widow, Jackie McLachlan, said that she had been promised a statue after the passing of her husband. McLachlan said that she has noticed how fans struggle to get the Maravich name on the Assembly Center into a camera frame.
In February 2016, the LSU Athletic Hall of Fame Committee unanimously approved a proposal that a statue honoring Maravich be installed on the campus.
A street in Belgrade, Serbia, is named after Pete Maravich.
Memorabilia
Maravich's untimely death and mystique have made memorabilia associated with him among the most highly prized of any basketball collectibles. Game-used Maravich jerseys bring more money at auction than similar items from anybody other than George Mikan, with the most common items selling for $10,000 and up and a game-used LSU jersey selling for $94,300 in a 2001 Grey Flannel auction. The signed game ball from his career-high 68-point night on February 25, 1977, sold for $131,450 in a 2009 Heritage auction.
Honors, books, films and music
In 1987, roughly a year before his death, Maravich co-authored an award-winning (Gold Medallion) autobiography with Darrel Campbell titled Heir to a Dream that devoted much focus to his life after retirement from basketball and his later devotion to Christianity.
In 1987, Maravich and Darrel Campbell produced the four-episode basketball instructional video series Pistol Pete's Homework Basketball.
In 1988, Frank Schroeder and Darrel Campbell produced the documentary based on Pete Maravich's college career titled, Maravich Memories: The LSU Years.
After Maravich's death, Louisiana Governor Buddy Roemer signed a proclamation officially renaming the LSU home court the Pete Maravich Assembly Center.
In 1991, a biographical film written and produced by Darrel Campbell dramatizing his 8th-grade season entitled The Pistol: The Birth of a Legend was released.
In 1996, he was named one of the 50 Greatest Players in NBA History by a panel made up of NBA historians, players, and coaches. He was the only deceased player on the list. At the 1997 All-Star Game in Cleveland, he was represented by his two sons at halftime.
In 2001, a comprehensive 90-minute documentary film debuted on CBS entitled Pistol Pete: The Life and Times of Pete Maravich.
In 2005, ESPNU named Maravich the greatest college basketball player of all time.
In 2007, two biographies of Maravich were released: Maravich by Wayne Federman and Marshall Terrill and Pistol by Mark Kriegel. Also in 2007, to promote Mark Kriegel's book "Pistol", Fox Sports conducted a contest to find "Pete Maravich's Biggest Fan". The winner was Scott Pollack of Sunrise, FL.
In 2021, he was named one of the members of the NBA 75th Anniversary Team by a panel made up of NBA historians, players and coaches. He was one of the deceased players on the list.
In 1970, during his LSU days, Acapulco Music/The Panama Limited released "The Ballad of Pete Maravich by Bob Tinney and Woody Jenkins.
The Ziggens, a band from Southern California, wrote a song about Maravich entitled "Pistol Pete".
Collegiate awards
The Sporting News College Player of the Year (1970)
USBWA College Player of the Year (1969, 1970)
Naismith Award Winner (1970)
Helms Foundation Player of the Year (1970)
UPI Player of the Year (1970)
Sporting News Player of the Year (1970)
AP College Player of the Year (1970)
The Sporting News All-America First Team (1968, 1969, 1970)
Three-time AP and UPI First-Team All-America (1968, 1969, 1970)
Led the NCAA Division I in scoring with 43.8 ppg (1968); 44.2 (1969) and 44.5 ppg (1970)
Averaged 43.6 ppg on the LSU freshman team (1967)
Scored a career-high 69 points vs. Alabama (); 66 vs. Tulane (); 64 vs. Kentucky (); 61 vs. Vanderbilt ()
Holds LSU records for most field goals made (26) and attempted (57) in a game against Vanderbilt on
All-Southeastern Conference (1968, 1969, 1970)
#23 Jersey retired by LSU (2007)
In 1970, Maravich led LSU to a 20–8 record and a fourth-place finish in the National Invitation Tournament
Collegiate records
Points, career: 3,667 (three seasons)
Highest scoring average, points per game, career: 44.2 (3,667 points/83 games)
Points, season: 1,381 (1970)
Highest scoring average, points per game, season: 44.5 (1,381/31) (1970)
Games scoring 50 or more points, career: 28
Games scoring 50 or more points, season: 10 (1970)
Field goals made, career: 1,387
Field goals made, season: 522 (1970)
Field goal attempts, career: 3,166
Field goal attempts, season: 1,168 (1970)
Free throws made, game: 30 (in 31 attempts), vs. Oregon State,
Tied by Ben Woodside, North Dakota State, on
NBA awards
NBA All-Rookie Team
All-NBA First Team (1976, 1977)
All-NBA Second Team (1973, 1978)
Five-time NBA All-Star (1973, 1974, 1977, 1978, 1979)
Led the league in scoring (31.1 ppg) in 1977, his career best
Scored a career-high 68 points against the New York Knicks on February 25, 1977
#7 jersey retired by the Utah Jazz (1985)
#7 jersey retired by the Superdome (1988)
NBA 50th Anniversary All-Time Team (1996)
NBA 75th Anniversary Team (2021)
#7 jersey retired by the New Orleans Hornets (now Pelicans) (2002), even though he never played for them—one of only four players to have a number retired by a team they did not play for; Maravich did play professionally for the New Orleans Jazz, however, and has remained a greatly admired figure amongst New Orleans sports fans ever since.
#44 jersey retired by the Atlanta Hawks (2017)
NBA records
Free throws made, quarter: 14, Pete Maravich, third quarter, Atlanta Hawks vs. Buffalo Braves,
Broken by Vince Carter on
Free throw attempts, quarter: 16, Pete Maravich, second quarter, Atlanta Hawks at Chicago Bulls,
Broken by Ben Wallace on
Second pair of teammates in NBA history to score 2,000 or more points in a season: 2, Atlanta Hawks ()
Maravich: 2,063
Lou Hudson: 2,029
Third pair of teammates in NBA history to score 40 or more points in the same game: New Orleans Jazz vs. Denver Nuggets,
Maravich: 45
Nate Williams: 41
David Thompson of the Denver Nuggets also scored 40 points in this game.
Ranks 4th in NBA history – Free throws made, none missed, game: 18–18, Pete Maravich, Atlanta Hawks vs. Buffalo Braves,
Ranks 5th in NBA history – Free throws made, game: 23, Pete Maravich, New Orleans Jazz vs. New York Knicks, (2 OT)
See also
List of individual National Basketball Association scoring leaders by season
List of National Basketball Association players with most points in a game
List of NCAA Division I men's basketball players with 60 or more points in a game
List of NCAA Division I men's basketball season scoring leaders
List of NCAA Division I men's basketball career scoring leaders
List of NCAA Division I men's basketball career free throw scoring leaders
List of National Basketball Association annual minutes leaders
Further reading
Campbell, Darrel (2019). Hero & Friend: My Days with Pistol Pete. Percussion Films. .
Brown, Danny (2008). Shooting the Pistol: Courtside Photographs of Pete Maravich at LSU. Louisiana State University Press
References
External links
NBA Historical Bio
ESPN bio
Pete Maravich's Greatest Achievement
‘68 All College MVP - 4 Days with Pistol Pete
Pete Maravich Bio LSU Tigers Athletics
1947 births
1988 deaths
All-American college men's basketball players
American evangelicals
American men's basketball players
American people of Serbian descent
Atlanta Hawks draft picks
Atlanta Hawks players
Basketball players from Pennsylvania
Boston Celtics players
College basketball announcers in the United States
LSU Tigers 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
Needham B. Broughton High School alumni
New Orleans Jazz players
Parade High School All-Americans (boys' basketball)
People from Aliquippa, Pennsylvania
Shooting guards
Sportspeople from the Pittsburgh metropolitan area
Basketball players from Raleigh, North Carolina
Utah Jazz players
| false |
[
"Petar \"Press\" Maravich (August 29, 1915 – April 15, 1987) was an American college and professional basketball coach. He received the nickname \"Press\" as a boy, when one of his jobs was selling the Pittsburgh Press on the streets of his hometown of Aliquippa, Pennsylvania, an industrial city outside of Pittsburgh. Maravich, Sr. also served in the United States Naval Air Corps during World War II.\n\nMaravich graduated from Davis & Elkins College in 1941 and was a member of the Alpha Sigma Phi fraternity. He was the father of basketball player Pete Maravich.\n\nPlaying and coaching career\nMaravich was the son of Serb immigrants Vajo and Sara (née Radulović) from Drežnica, a village near Ogulin in modern-day Croatia. After college, he played professional basketball with the Youngstown Bears (1945–1946) of the National Basketball League, and the Pittsburgh Ironmen (1946–1947) of the Basketball Association of America.\n\nPress Maravich's first head coaching job at the college level was West Virginia Wesleyan College, 1949–1950. From there he went on to become head coach of his alma mater, Davis & Elkins, from 1950 to 1952. He had previously served as an assistant under Red Brown from 1947 to 1949.\n\nMaravich was head coach of the Tigers of Clemson University from 1956 to 1962. He then went to North Carolina State University to be an assistant coach under Everett Case. Maravich took over the head coaching duties when health problems, primarily cancer, forced Case to retire early in the 1964–1965 season. Maravich led the Wolfpack to the Atlantic Coast Conference title that season. Maravich left for Louisiana State University in April 1966 where he coached his son, Pete Maravich. Upon offering the LSU scholarship to \"Pistol\", \"Press\" told his boy that \"If you don't sign this ... don't ever come into my house again.\"{Pistol: The Life of Pete Maravich}. Pete originally wanted to go to the West Virginia University but finally agreed to go to LSU if his dad bought him a car. (Pistol: The Life of Pete Maravich.) In spite of coaching his prolific son for half of his coaching career at LSU, Maravich had an overall losing record at the school. Maravich was replaced at LSU by Dale Brown in 1972. He then went on to coach the Mountaineers of Appalachian State, shepherding them through their early years in Division I, before retiring from coaching in 1975. Maravich returned to coaching in the early 1980s as associate head coach at Campbell University.\n\nDeath\nIn the spring of 1985, Maravich was diagnosed with prostate cancer. During a basketball clinic in Israel, signs of his condition appeared when he had begun to urinate blood. Press eventually was persuaded to receive proper treatment for his condition at Memorial Sloan-Kettering Cancer Center in New York, but he canceled before being admitted. On February 11, 1987, Press and son Pete flew to Hanover, Germany, for an experimental treatment that lasted for 11 days; symptoms such as coughing subsided while the treatment had no effect on the cancer. Through the next two months, Press's condition deteriorated while Pete took constant care of him with his sister, Diana. Press Maravich lived his last days in Highland Park Hospital in Covington, Louisiana, where he died on April 15, 1987. \"Press\" Maravich lived just long enough to see Pete selected as a possible member of the Naismith Memorial Basketball Hall of Fame, but not long enough to see him officially inducted in May 1987. Pete Maravich is quoted as saying \"I'll see you soon\" to his father immediately after his death; Pete Maravich died nine months later on January 5, 1988. Both \"Press\" and his son became born-again Christians late in their lives.\n\nBAA career statistics\n\nRegular season\n\nHead coaching record\n\nCollege\n\nFurther reading\n\nReferences\n\nExternal links\n\n1915 births\n1987 deaths\nAmerican men's basketball coaches\nAmerican men's basketball players\nAmerican people of Serbian descent\nAppalachian State Mountaineers men's basketball coaches\nBasketball coaches from Pennsylvania\nBasketball players from Pennsylvania\nClemson Tigers men's basketball coaches\nCollege men's basketball head coaches in the United States\nDavis & Elkins Senators men's basketball coaches\nDavis & Elkins Senators men's basketball players\nDeaths from cancer in Louisiana\nDeaths from prostate cancer\nDetroit Eagles players\nHigh school basketball coaches in the United States\nLSU Tigers basketball coaches\nNC State Wolfpack men's basketball coaches\nPeople from Aliquippa, Pennsylvania\nPittsburgh Ironmen players\nSportspeople from the Pittsburgh metropolitan area\nUnited States Naval Aviators\nWest Virginia Wesleyan Bobcats basketball coaches\nYoungstown Bears players\nGuards (basketball)\nMilitary personnel from Pennsylvania",
"Peter Press Maravich (; June 22, 1947 – January 5, 1988), known by his nickname Pistol Pete, was an American professional basketball player. Maravich was born in Aliquippa, Pennsylvania, part of the Pittsburgh metropolitan area, and raised in the Carolinas. Maravich starred in college with the LSU Tigers while playing for his father, head coach Press Maravich. He is the all-time leading NCAA Division I scorer with 3,667 points scored and an average of 44.2 points per game. All of his accomplishments were achieved before the adoption of the three-point line and shot clock, and despite being unable to play varsity as a freshman under then-NCAA rules. He played for three National Basketball Association (NBA) teams until injuries forced his retirement in 1980 following a 10-year professional career. \n\nOne of the youngest players ever inducted into the Naismith Memorial Basketball Hall of Fame, Maravich was considered to be one of the greatest creative offensive talents ever and one of the best ball handlers of all time. He died suddenly at age 40 during a pick-up game in 1988 as a consequence of an undetected heart defect.\n\nEarly life\nMaravich was born to Peter \"Press\" Maravich (1915–1987) and Helen Gravor Maravich (1925–1974) in Aliquippa, a steel town in Beaver County in western Pennsylvania, near Pittsburgh. Maravich amazed his family and friends with his basketball abilities from an early age. He enjoyed a close but demanding father-son relationship that motivated him toward achievement and fame in the sport. Maravich's father was the son of Serbian immigrants and a professional player–turned-coach. He showed him the fundamentals starting when he was seven years old. Obsessively, Maravich spent hours practicing ball control tricks, passes, head fakes, and long-range shots.\n\nMaravich played high school varsity ball at Daniel High School in Central, South Carolina, a year before being old enough to attend the school. While at Daniel from 1961 to 1963, Maravich participated in the school's first-ever game against a team from an all-black school. In 1963 his father departed from his position as head basketball coach at Clemson University and joined the coaching staff at North Carolina State University. The Maravich family's subsequent move to Raleigh, North Carolina, allowed Maravich to attend Needham B. Broughton High School. His high school years also saw the birth of his famous moniker. From his habit of shooting the ball from his side, as if holding a revolver, Maravich became known as \"Pistol\" Pete Maravich. He graduated from Needham B. Broughton High School in 1965 and then attended Edwards Military Institute, where he averaged 33 points per game. Maravich never liked school and did not like Edwards Military Institute. It was known that Press Maravich was extremely protective of Maravich and would guard against any issue that might come up during his adolescence. Press threatened to shoot Maravich with a 45 caliber pistol if he drank or got into trouble. Maravich was 6 feet 4 inches in high school and was getting ready to play in college when his father took a coaching position at Louisiana State University.\n\nCollege career\nAt that time NCAA rules prohibited first-year students from playing at varsity level, which forced Maravich to play on the freshman team. In his first game, Maravich put up 50 points, 14 rebounds and 11 assists against Southeastern Louisiana College.\n\nIn only three years playing on the varsity team (and under his father's coaching) at LSU, Maravich scored 3,667 points—1,138 of those in 1967–68, 1,148 in 1968–69, and 1,381 in 1969–70—while averaging 43.8, 44.2, and 44.5 points per game, respectively. For his collegiate career, the 6'5\" (1.96 m) guard averaged 44.2 points per game in 83 contests and led the NCAA in scoring for each of his three seasons.\n\nMaravich's long-standing collegiate scoring record is particularly notable when three factors are taken into account:\nFirst, because of the NCAA rules that prohibited him from taking part in varsity competition during his first year as a student, Maravich was prevented from adding to his career record for a full quarter of his time at LSU. During this first year, Maravich scored 741 points in freshman competition.\nSecond, Maravich played before the advent of the three-point line. This significant difference has raised speculation regarding just how much higher his records would be, given his long-range shooting ability and how such a component might have altered his play. Writing for ESPN.com, Bob Carter stated, \"Though Maravich played before [...] the 3-point shot was established, he loved gunning from long range.\" It has been reported that former LSU coach Dale Brown charted every shot Maravich scored and concluded that, if his shots from three-point range had been counted as three points, Maravich's average would have totaled 57 points per game. And 12 Three Pointer per game.\nThird, the shot clock had also not yet been instituted in NCAA play during Maravich's college career. (A time limit on ball possession speeds up play, mandates an additional number of field goal attempts, eliminates stalling, and increases the number of possessions throughout the game, all resulting in higher overall scoring.)\n\nMore than 50 years later, however, many of his NCAA and LSU records still stand. Maravich was a three-time All-American. Though he never appeared in the NCAA tournament, Maravich played a key role in turning around a lackluster program that had posted a 3–20 record in the season prior to his arrival. Maravich finished his college career in the 1970 National Invitation Tournament, where LSU finished fourth.\n\nNCAA career statistics\n\nFreshman\nAt this time, freshmen did not play on the varsity team and these stats do not count in the NCAA record books.\n\n|-\n| style=\"text-align:left;\"| 1966–67\n| style=\"text-align:left;\"| Louisiana State\n| 19 || 19 || ... || .452 || ... || .833 || 10.4 || ... || ... || ... || 43.6\n\nVarsity\n\n|-\n| style=\"text-align:left;\"| 1967–68\n| style=\"text-align:left;\"| Louisiana State\n| 26 || 26 || ... || .423 || ... || .811 || 7.5 || 4.0 || ... || ... || 43.8\n|-\n| style=\"text-align:left;\"| 1968–69\n| style=\"text-align:left;\"| Louisiana State\n| 26 || 26 || ... || .444 || ... || .746 || 6.5 || 4.9 || ... || ... || 44.2\n|-\n| style=\"text-align:left;\"| 1969–70\n| style=\"text-align:left;\"| Louisiana State\n| 31 || 31 || ... || .447 || ... || .773 || 5.3 || 6.2 || ... || ... || 44.5\n|-\n| style=\"text-align:left;\" colspan=2|Career\n| 83 || 83 || ... || .438 || ... || .775 || 6.5 || 5.1 || ... || ... || 44.2\n\nProfessional career\n\nAtlanta Hawks\n\nThe Atlanta Hawks selected Maravich with the third pick in the first round of the 1970 NBA draft, where he played for coach Richie Guerin. He was not a natural fit in Atlanta, as the Hawks already boasted a top-notch scorer at the guard position in Lou Hudson. In fact, Maravich's flamboyant style stood in stark contrast to the conservative play of Hudson and star center Walt Bellamy. And it did not help that many of the veteran players resented the $1.9 million contract that Maravich received from the team—a very large salary at that time.\n\nMaravich appeared in 81 games and averaged 23.2 points per contest—good enough to earn NBA All-Rookie Team honors. And he managed to blend his style with his teammates, so much so that Hudson set a career high by scoring 26.8 points per game. But the team stumbled to a 36–46 record—12 wins fewer than in the previous season. Still, the Hawks qualified for the playoffs, where they lost to the New York Knicks in the first round.\n\nMaravich struggled somewhat during his second season. His scoring average dipped to 19.3 points per game, and the Hawks finished with another disappointing 36–46 record. Once again they qualified for the playoffs, and once again they were eliminated in the first round. However, Atlanta fought hard against the Boston Celtics, with Maravich averaging 27.7 points in the series.\n\nMaravich erupted in his third season, averaging 26.1 points (5th in the NBA) and dishing out 6.9 assists per game (6th in the NBA). With 2,063 points, he combined with Hudson (2,029 points) to become only the second set of teammates in league history to each score over 2,000 points in a single season. The Hawks soared to a 46–36 record, but again bowed out in the first round of the playoffs. However, the season was good enough to earn Maravich his first-ever appearance in the NBA All-Star Game, and also All-NBA Second Team honors.\n\nThe following season (1973–74) was his best yet—at least in terms of individual accomplishments. Maravich posted 27.7 points per game—second in the league behind Bob McAdoo—and earned his second appearance in the All-Star Game. However, Atlanta sank to a disappointing 35–47 record and missed the postseason entirely.\n\nNew Orleans Jazz\nIn the summer of 1974, an expansion franchise was preparing for its first season of competition in the NBA. The New Orleans Jazz were looking for something or someone to generate excitement among their new basketball fans. With his exciting style of play, Maravich was seen as the perfect man for the job. Additionally, he was already a celebrity in the state due to his accomplishments at LSU. To acquire Maravich, the Jazz traded two players and four draft picks to Atlanta.\n\nThe expansion team struggled mightily in its first season. Maravich managed to score 21.5 points per game, but shot a career-worst 41.9 percent from the floor. The Jazz posted a 23–59 record, worst in the NBA.\n\nJazz management did its best to give Maravich a better supporting cast. The team posted a 38–44 record in its second season (1975–76) but did not qualify for postseason play, despite the dramatic improvement. Maravich struggled with injuries that limited him to just 62 games that season, but he averaged 25.9 points per contest (third behind McAdoo and Kareem Abdul-Jabbar) and continued his crowd-pleasing antics. He was elected to the All-NBA First Team that year.\n\nThe following season (1976–77) was his most productive in the NBA. He led the league in scoring with an average of 31.1 points per game. He scored 40 points or more in 13 games, and 50 or more in 4 games. His 68-point masterpiece against the Knicks was at the time the most points ever scored by a guard in a single game, and only two players at any position had ever scored more: Wilt Chamberlain and Elgin Baylor. Baylor was head coach of the Jazz at that time.\n\nMaravich earned his third all-star game appearance and was honored as All-NBA First Team for the second consecutive season.\n\nThe following season, injuries to both knees forced him to miss 32 games during the 1977–78 season. Despite being robbed of some quickness and athleticism, he still managed to score 27.0 points per game, and he also added 6.7 assists per contest, his highest average as a member of the Jazz. Many of those assists went to new teammate Truck Robinson, who had joined the franchise as a free agent during the off-season. In his first year in New Orleans, he averaged 22.7 points and a league-best 15.7 rebounds per game. His presence prevented opponents from focusing their defensive efforts entirely on Maravich, and it lifted the Jazz to a 39–43 record—just short of making the club's first-ever appearance in the playoffs.\n\nKnee problems plagued Maravich for the rest of his career. He played in just 49 games during the 1978–79 season. He scored 22.6 points per game that season and earned his fifth and final All-Star appearance. But his scoring and passing abilities were severely impaired. The team struggled on the court, and faced serious financial trouble as well. Management became desperate to make some changes. The Jazz traded Robinson to the Phoenix Suns, receiving draft picks and some cash in return. However, in 1979, team owner Sam Battistone moved the Jazz to Salt Lake City.\n\nFinal season\nThe Utah Jazz began play in the 1979–80 season. Maravich moved with the team to Salt Lake City, but his knee problems were worse than ever. He appeared in 17 games early in the season, but his injuries prevented him from practicing much, and new coach Tom Nissalke had a strict rule that players who didn't practice were not allowed to play in games. Thus, Maravich was parked on the bench for 24 straight games, much to the dismay of Utah fans and to Maravich himself. During that time, Adrian Dantley emerged as the team's franchise player.\n\nThe Jazz placed Maravich on waivers in January 1980. He signed with the Celtics, the top team in the league that year, led by rookie superstar Larry Bird. Maravich adjusted to a new role as part-time contributor, giving Boston a \"hired gun\" off the bench. He helped the team post a 61–21 record in the regular season, best in the league. And, for the first time since his early career in Atlanta, Maravich was able to participate in the NBA playoffs. He appeared in nine games during that postseason, but the Celtics were upended by Julius Erving and the Philadelphia 76ers in the Eastern Conference finals, four games to one.\n\nRealizing that his knee problems would never go away, Maravich retired at the end of that season. The NBA instituted the 3-point shot just in time for Maravich's last season in the league. He had always been famous for his long-range shooting, and his final year provided an official statistical gauge of his abilities. Between his limited playing time in Utah and Boston, he made 10 of 15 3-point shots, giving him a career 66.7% completion rate behind the arc.\n\nDuring his ten-year career in the NBA, Maravich played in 658 games, averaging 24.2 points and 5.4 assists per contest. In 1987, he was inducted into the Naismith Memorial Basketball Hall of Fame, and his No. 7 jersey has been retired by both the Jazz and the New Orleans Pelicans, as well as his No. 44 jersey by the Atlanta Hawks.\n\nNBA career statistics\n\nRegular season\n\n|-\n| style=\"text-align:left;\"| 1970–71\n| style=\"text-align:left;\"| Atlanta\n| 81 || ... || 36.1 || .458 || ... || .800 || 3.7 || 4.4 || ... || ... || 23.2\n|-\n| style=\"text-align:left;\"| 1971–72\n| style=\"text-align:left;\"| Atlanta\n| 66 || ... || 34.9 || .427 || ... || .811 || 3.9 || 6.0 || ... || ... || 19.3\n|-\n| style=\"text-align:left;\"| 1972–73\n| style=\"text-align:left;\"| Atlanta\n| 79 || ... || 39.1 || .441 || ... || .800 || 4.4 || 6.9 || ... || ... || 26.1\n|-\n| style=\"text-align:left;\"| 1973–74\n| style=\"text-align:left;\"| Atlanta\n| 76 || ... || 38.2 || .457 || ... || .826 || 4.9 || 5.2 || 1.5 || .2 || 27.7\n|-\n| style=\"text-align:left;\"| 1974–75\n| style=\"text-align:left;\"| New Orleans\n| 79 || ... || 36.1 || .419 || ... || .811 || 5.3 || 6.2 || 1.5 || .2 || 21.5\n|-\n| style=\"text-align:left;\"| 1975–76\n| style=\"text-align:left;\"| New Orleans\n| 62 || ... || 38.3 || .459|| ... || .811 || 4.8 || 5.4 || 1.4 || .4 || 25.9\n|-\n| style=\"text-align:left;\"| 1976–77\n| style=\"text-align:left;\"| New Orleans\n| 73 || ... || 41.7 || .433 || ... || .835 || 5.1 || 5.4 || 1.2 || .3 ||style=\"background:#cfecec;\"| 31.1*\n|-\n| style=\"text-align:left;\"| 1977–78\n| style=\"text-align:left;\"| New Orleans\n| 50 || ... || 40.8 || .444 || ... || .870 || 3.6 || 6.7 || 2.0 || .2 || 27.0\n|-\n| style=\"text-align:left;\"| 1978–79\n| style=\"text-align:left;\"| New Orleans\n| 49 || ... || 37.2 || .421 || ... || .841 || 2.5 || 5.0 || 1.2 || .4 || 22.6\n|-\n| style=\"text-align:left;\"| 1979–80\n| style=\"text-align:left;\"| Utah\n| 17 || ... || 30.7 || .412 || .636 || .820 || 2.4 || 3.2 || .9 || .2 || 17.1\n|-\n| style=\"text-align:left;\"| 1979–80\n| style=\"text-align:left;\"| Boston\n| 26 || 4 || 17.0 || .494 || .750 ||.909 || 1.5 || 1.1 || .3 || .1 || 11.5\n|- class=\"sortbottom\"\n| style=\"text-align:center;\" colspan=\"2\"| Career\n| 658 || ... || 37.0 || .441 || .667 || .820 || 4.2 || 5.4 || 1.4 || .3 || 24.2\n|- class=\"sortbottom\"\n| style=\"text-align:center;\" colspan=\"2\"| All-Star\n| 4 || 4 || 19.8 || .409 || ... || .778 || 2.0 || 3.8 || 1.0 || 0.0 || 10.8\n\nPlayoffs\n\n|-\n| style=\"text-align:left;\"| 1971\n| style=\"text-align:left;\"| Atlanta\n| 5 || ... || 39.8 || .377 || ... || .692 || 5.2 || 4.8 || ... || ... || 22.0\n|-\n| style=\"text-align:left;\"| 1972\n| style=\"text-align:left;\"| Atlanta\n| 6 || ... || 36.5 || .446 || ... || .817 || 5.3 || 4.7 || ... || ... || 27.7\n|-\n| style=\"text-align:left;\"| 1973\n| style=\"text-align:left;\"| Atlanta\n| 6 || ... || 39.0 || .419 || ... || .794 || 4.8 || 6.7 || ... || ... || 26.2\n|-\n| style=\"text-align:left;\"| 1980\n| style=\"text-align:left;\"| Boston\n| 9 || ... || 11.6 || .490 || .333 || .667 || .9 || .7 || .3 || .0 || 6.0\n|-\n| style=\"text-align:center;\" colspan=2|Career\n| 26 || ... || 29.1 || .423 || .333 || .784 || 3.6 || 3.8 || ... || ... || 18.7\n|-\n\nLater life and death\nAfter injuries forced his retirement from the game in the fall of 1980, Maravich became a recluse for two years. Through it all, Maravich said he was searching \"for life\". He tried the practices of yoga and Hinduism, read Trappist monk Thomas Merton's The Seven Storey Mountain and took an interest in the field of ufology, the study of unidentified flying objects. He also explored vegetarianism and macrobiotics, adopting a vegetarian diet in 1982. Eventually, he became a born-again Christian, embracing evangelical Christianity. A few years before his death, Maravich said, \"I want to be remembered as a Christian, a person that serves Him [Jesus] to the utmost, not as a basketball player.\"\n\nOn January 5, 1988, Maravich collapsed and died of heart failure at age 40 while playing in a pickup basketball game in the gym at First Church of the Nazarene in Pasadena, California, with a group that included evangelical author James Dobson. Maravich had flown out from his home in Louisiana to tape a segment for Dobson's radio show that aired later that day. Dobson has said that Maravich's last words, less than a minute before he died, were \"I feel great.\" An autopsy revealed the cause of death to be a rare congenital defect; he had been born with a missing left coronary artery, a vessel that supplies blood to the muscle fibers of the heart. His right coronary artery was grossly enlarged and had been compensating for the defect. \n\nMaravich died the year after his father's passing and a number of years after his mother, who had died of suicide with a self-inflicted gunshot. Maravich is buried at Resthaven Gardens of Memory and Mausoleum in Baton Rouge, Louisiana.\n\nLegacy\nMaravich was survived by his wife Jackie and his sons Jaeson, who was 8 years old at the time of his death, and Josh, aged 5. Only the previous year, Maravich had taken Jaeson to the 1987 NBA All-Star Game in Seattle, Washington, and introduced him to Michael Jordan.\n\nSince Maravich's children were very young when he died, Jackie Maravich initially shielded them from unwanted media attention, not even allowing Jaeson and Josh to attend their father's funeral. However, a proclivity to basketball seemed to be an inherited trait. During a 2003 interview, Jaeson told USA Today that, when he was still only a toddler, \"My dad passed me a (Nerf) basketball, and I've been hooked ever since ... My dad said I shot and missed, and I got mad and I kept shooting. He said his dad told him he did the same thing.\"\n\nDespite some setbacks coping with their father's death and without the benefit that his tutelage might have provided, both sons eventually were inspired to play high school and collegiate basketball—Josh at his father's alma mater, LSU.\n\nOn June 27, 2014, Governor Bobby Jindal proposed that LSU erect a statue of Maravich outside the Assembly Center, which already bore the basketball star's name. Former coach Dale Brown opposed such a monument, but Maravich's widow, Jackie McLachlan, said that she had been promised a statue after the passing of her husband. McLachlan said that she has noticed how fans struggle to get the Maravich name on the Assembly Center into a camera frame.\n\nIn February 2016, the LSU Athletic Hall of Fame Committee unanimously approved a proposal that a statue honoring Maravich be installed on the campus.\n\nA street in Belgrade, Serbia, is named after Pete Maravich.\n\nMemorabilia\nMaravich's untimely death and mystique have made memorabilia associated with him among the most highly prized of any basketball collectibles. Game-used Maravich jerseys bring more money at auction than similar items from anybody other than George Mikan, with the most common items selling for $10,000 and up and a game-used LSU jersey selling for $94,300 in a 2001 Grey Flannel auction. The signed game ball from his career-high 68-point night on February 25, 1977, sold for $131,450 in a 2009 Heritage auction.\n\nHonors, books, films and music\nIn 1987, roughly a year before his death, Maravich co-authored an award-winning (Gold Medallion) autobiography with Darrel Campbell titled Heir to a Dream that devoted much focus to his life after retirement from basketball and his later devotion to Christianity. \nIn 1987, Maravich and Darrel Campbell produced the four-episode basketball instructional video series Pistol Pete's Homework Basketball. \nIn 1988, Frank Schroeder and Darrel Campbell produced the documentary based on Pete Maravich's college career titled, Maravich Memories: The LSU Years. \nAfter Maravich's death, Louisiana Governor Buddy Roemer signed a proclamation officially renaming the LSU home court the Pete Maravich Assembly Center.\nIn 1991, a biographical film written and produced by Darrel Campbell dramatizing his 8th-grade season entitled The Pistol: The Birth of a Legend was released.\nIn 1996, he was named one of the 50 Greatest Players in NBA History by a panel made up of NBA historians, players, and coaches. He was the only deceased player on the list. At the 1997 All-Star Game in Cleveland, he was represented by his two sons at halftime.\nIn 2001, a comprehensive 90-minute documentary film debuted on CBS entitled Pistol Pete: The Life and Times of Pete Maravich.\nIn 2005, ESPNU named Maravich the greatest college basketball player of all time.\nIn 2007, two biographies of Maravich were released: Maravich by Wayne Federman and Marshall Terrill and Pistol by Mark Kriegel. Also in 2007, to promote Mark Kriegel's book \"Pistol\", Fox Sports conducted a contest to find \"Pete Maravich's Biggest Fan\". The winner was Scott Pollack of Sunrise, FL.\nIn 2021, he was named one of the members of the NBA 75th Anniversary Team by a panel made up of NBA historians, players and coaches. He was one of the deceased players on the list.\nIn 1970, during his LSU days, Acapulco Music/The Panama Limited released \"The Ballad of Pete Maravich by Bob Tinney and Woody Jenkins. \n The Ziggens, a band from Southern California, wrote a song about Maravich entitled \"Pistol Pete\".\n\nCollegiate awards\n The Sporting News College Player of the Year (1970)\n USBWA College Player of the Year (1969, 1970)\n Naismith Award Winner (1970)\n Helms Foundation Player of the Year (1970)\n UPI Player of the Year (1970)\n Sporting News Player of the Year (1970)\n AP College Player of the Year (1970)\n The Sporting News All-America First Team (1968, 1969, 1970)\n Three-time AP and UPI First-Team All-America (1968, 1969, 1970)\n Led the NCAA Division I in scoring with 43.8 ppg (1968); 44.2 (1969) and 44.5 ppg (1970)\n Averaged 43.6 ppg on the LSU freshman team (1967)\n Scored a career-high 69 points vs. Alabama (); 66 vs. Tulane (); 64 vs. Kentucky (); 61 vs. Vanderbilt ()\n Holds LSU records for most field goals made (26) and attempted (57) in a game against Vanderbilt on \n All-Southeastern Conference (1968, 1969, 1970)\n #23 Jersey retired by LSU (2007)\n In 1970, Maravich led LSU to a 20–8 record and a fourth-place finish in the National Invitation Tournament\n\nCollegiate records\n Points, career: 3,667 (three seasons)\n Highest scoring average, points per game, career: 44.2 (3,667 points/83 games)\n Points, season: 1,381 (1970)\n Highest scoring average, points per game, season: 44.5 (1,381/31) (1970)\n Games scoring 50 or more points, career: 28\n Games scoring 50 or more points, season: 10 (1970)\n Field goals made, career: 1,387\n Field goals made, season: 522 (1970)\n Field goal attempts, career: 3,166\n Field goal attempts, season: 1,168 (1970)\n Free throws made, game: 30 (in 31 attempts), vs. Oregon State, \nTied by Ben Woodside, North Dakota State, on\n\nNBA awards\n\nNBA All-Rookie Team\nAll-NBA First Team (1976, 1977)\nAll-NBA Second Team (1973, 1978)\nFive-time NBA All-Star (1973, 1974, 1977, 1978, 1979)\nLed the league in scoring (31.1 ppg) in 1977, his career best\nScored a career-high 68 points against the New York Knicks on February 25, 1977\n#7 jersey retired by the Utah Jazz (1985)\n#7 jersey retired by the Superdome (1988)\nNBA 50th Anniversary All-Time Team (1996)\n NBA 75th Anniversary Team (2021)\n#7 jersey retired by the New Orleans Hornets (now Pelicans) (2002), even though he never played for them—one of only four players to have a number retired by a team they did not play for; Maravich did play professionally for the New Orleans Jazz, however, and has remained a greatly admired figure amongst New Orleans sports fans ever since.\n#44 jersey retired by the Atlanta Hawks (2017)\n\nNBA records\nFree throws made, quarter: 14, Pete Maravich, third quarter, Atlanta Hawks vs. Buffalo Braves, \nBroken by Vince Carter on \n\nFree throw attempts, quarter: 16, Pete Maravich, second quarter, Atlanta Hawks at Chicago Bulls, \nBroken by Ben Wallace on \n\nSecond pair of teammates in NBA history to score 2,000 or more points in a season: 2, Atlanta Hawks () \nMaravich: 2,063 \nLou Hudson: 2,029\n\nThird pair of teammates in NBA history to score 40 or more points in the same game: New Orleans Jazz vs. Denver Nuggets, \nMaravich: 45 \nNate Williams: 41 \nDavid Thompson of the Denver Nuggets also scored 40 points in this game.\n\nRanks 4th in NBA history – Free throws made, none missed, game: 18–18, Pete Maravich, Atlanta Hawks vs. Buffalo Braves, \n\nRanks 5th in NBA history – Free throws made, game: 23, Pete Maravich, New Orleans Jazz vs. New York Knicks, (2 OT)\n\nSee also\nList of individual National Basketball Association scoring leaders by season\nList of National Basketball Association players with most points in a game\nList of NCAA Division I men's basketball players with 60 or more points in a game\nList of NCAA Division I men's basketball season scoring leaders\nList of NCAA Division I men's basketball career scoring leaders\nList of NCAA Division I men's basketball career free throw scoring leaders\nList of National Basketball Association annual minutes leaders\n\nFurther reading\n\n Campbell, Darrel (2019). Hero & Friend: My Days with Pistol Pete. Percussion Films. .\n\nBrown, Danny (2008). Shooting the Pistol: Courtside Photographs of Pete Maravich at LSU. Louisiana State University Press\n\nReferences\n\nExternal links\n\nNBA Historical Bio\nESPN bio\n\nPete Maravich's Greatest Achievement\n‘68 All College MVP - 4 Days with Pistol Pete\n\nPete Maravich Bio LSU Tigers Athletics\n\n1947 births\n1988 deaths\nAll-American college men's basketball players\nAmerican evangelicals\nAmerican men's basketball players\nAmerican people of Serbian descent\nAtlanta Hawks draft picks\nAtlanta Hawks players\nBasketball players from Pennsylvania\nBoston Celtics players\nCollege basketball announcers in the United States\nLSU Tigers basketball players\nNaismith Memorial Basketball Hall of Fame inductees\nNational Basketball Association All-Stars\nNational Basketball Association broadcasters\nNational Basketball Association players with retired numbers\nNeedham B. Broughton High School alumni\nNew Orleans Jazz players\nParade High School All-Americans (boys' basketball)\nPeople from Aliquippa, Pennsylvania\nShooting guards\nSportspeople from the Pittsburgh metropolitan area\nBasketball players from Raleigh, North Carolina\nUtah Jazz players"
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[
"Pete Maravich",
"Legacy",
"What was Maravich's legacy?",
"Maravich was survived by his wife Jackie and his two sons Jaeson, who was 8 years old, and Josh, aged 5."
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C_944020ab787349289f7fba127ae6bd15_0
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Was his family with him at the time of his death?
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Were Pete Maravich's family (wife Jackie, and sons) with him at the time of his death?
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Pete Maravich
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Maravich was survived by his wife Jackie and his two sons Jaeson, who was 8 years old, and Josh, aged 5. Only the previous year, Maravich had taken Jaeson to the 1987 NBA All-Star Game in Seattle, Washington, and introduced him to Michael Jordan. Since Maravich's children were very young when he died, Jackie Maravich initially shielded them from unwanted media attention, not even allowing Jaeson and Josh to attend their father's funeral. However, a proclivity to basketball seemed to be an inherited trait. During a 2003 interview, Jaeson told USA Today that, when he was still only a toddler, "My dad passed me a (Nerf) basketball, and I've been hooked ever since... . My dad said I shot and missed, and I got mad and I kept shooting. He said his dad told him he did the same thing." Despite some setbacks coping with their father's death and without the benefit that his tutelage might have provided, both sons eventually were inspired to play high school and collegiate basketball--Josh at his father's alma mater, LSU. On June 27, 2014, Governor Bobby Jindal proposed that LSU erect a statue of Maravich outside the Assembly Center which already bears the basketball star's name. Former coach Dale Brown opposes such a monument, but Maravich's widow, Jackie McLachlan, said that she had been promised a statue after the passing of her husband. McLachlan said that she has noticed how fans struggle to get the Maravich name on the Assembly Center into a camera frame. In February 2016, the LSU Athletic Hall of Fame Committee unanimously approved a proposal that a statue honoring Maravich be installed on the campus. CANNOTANSWER
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CANNOTANSWER
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Peter Press Maravich (; June 22, 1947 – January 5, 1988), known by his nickname Pistol Pete, was an American professional basketball player. Maravich was born in Aliquippa, Pennsylvania, part of the Pittsburgh metropolitan area, and raised in the Carolinas. Maravich starred in college with the LSU Tigers while playing for his father, head coach Press Maravich. He is the all-time leading NCAA Division I scorer with 3,667 points scored and an average of 44.2 points per game. All of his accomplishments were achieved before the adoption of the three-point line and shot clock, and despite being unable to play varsity as a freshman under then-NCAA rules. He played for three National Basketball Association (NBA) teams until injuries forced his retirement in 1980 following a 10-year professional career.
One of the youngest players ever inducted into the Naismith Memorial Basketball Hall of Fame, Maravich was considered to be one of the greatest creative offensive talents ever and one of the best ball handlers of all time. He died suddenly at age 40 during a pick-up game in 1988 as a consequence of an undetected heart defect.
Early life
Maravich was born to Peter "Press" Maravich (1915–1987) and Helen Gravor Maravich (1925–1974) in Aliquippa, a steel town in Beaver County in western Pennsylvania, near Pittsburgh. Maravich amazed his family and friends with his basketball abilities from an early age. He enjoyed a close but demanding father-son relationship that motivated him toward achievement and fame in the sport. Maravich's father was the son of Serbian immigrants and a professional player–turned-coach. He showed him the fundamentals starting when he was seven years old. Obsessively, Maravich spent hours practicing ball control tricks, passes, head fakes, and long-range shots.
Maravich played high school varsity ball at Daniel High School in Central, South Carolina, a year before being old enough to attend the school. While at Daniel from 1961 to 1963, Maravich participated in the school's first-ever game against a team from an all-black school. In 1963 his father departed from his position as head basketball coach at Clemson University and joined the coaching staff at North Carolina State University. The Maravich family's subsequent move to Raleigh, North Carolina, allowed Maravich to attend Needham B. Broughton High School. His high school years also saw the birth of his famous moniker. From his habit of shooting the ball from his side, as if holding a revolver, Maravich became known as "Pistol" Pete Maravich. He graduated from Needham B. Broughton High School in 1965 and then attended Edwards Military Institute, where he averaged 33 points per game. Maravich never liked school and did not like Edwards Military Institute. It was known that Press Maravich was extremely protective of Maravich and would guard against any issue that might come up during his adolescence. Press threatened to shoot Maravich with a 45 caliber pistol if he drank or got into trouble. Maravich was 6 feet 4 inches in high school and was getting ready to play in college when his father took a coaching position at Louisiana State University.
College career
At that time NCAA rules prohibited first-year students from playing at varsity level, which forced Maravich to play on the freshman team. In his first game, Maravich put up 50 points, 14 rebounds and 11 assists against Southeastern Louisiana College.
In only three years playing on the varsity team (and under his father's coaching) at LSU, Maravich scored 3,667 points—1,138 of those in 1967–68, 1,148 in 1968–69, and 1,381 in 1969–70—while averaging 43.8, 44.2, and 44.5 points per game, respectively. For his collegiate career, the 6'5" (1.96 m) guard averaged 44.2 points per game in 83 contests and led the NCAA in scoring for each of his three seasons.
Maravich's long-standing collegiate scoring record is particularly notable when three factors are taken into account:
First, because of the NCAA rules that prohibited him from taking part in varsity competition during his first year as a student, Maravich was prevented from adding to his career record for a full quarter of his time at LSU. During this first year, Maravich scored 741 points in freshman competition.
Second, Maravich played before the advent of the three-point line. This significant difference has raised speculation regarding just how much higher his records would be, given his long-range shooting ability and how such a component might have altered his play. Writing for ESPN.com, Bob Carter stated, "Though Maravich played before [...] the 3-point shot was established, he loved gunning from long range." It has been reported that former LSU coach Dale Brown charted every shot Maravich scored and concluded that, if his shots from three-point range had been counted as three points, Maravich's average would have totaled 57 points per game. And 12 Three Pointer per game.
Third, the shot clock had also not yet been instituted in NCAA play during Maravich's college career. (A time limit on ball possession speeds up play, mandates an additional number of field goal attempts, eliminates stalling, and increases the number of possessions throughout the game, all resulting in higher overall scoring.)
More than 50 years later, however, many of his NCAA and LSU records still stand. Maravich was a three-time All-American. Though he never appeared in the NCAA tournament, Maravich played a key role in turning around a lackluster program that had posted a 3–20 record in the season prior to his arrival. Maravich finished his college career in the 1970 National Invitation Tournament, where LSU finished fourth.
NCAA career statistics
Freshman
At this time, freshmen did not play on the varsity team and these stats do not count in the NCAA record books.
|-
| style="text-align:left;"| 1966–67
| style="text-align:left;"| Louisiana State
| 19 || 19 || ... || .452 || ... || .833 || 10.4 || ... || ... || ... || 43.6
Varsity
|-
| style="text-align:left;"| 1967–68
| style="text-align:left;"| Louisiana State
| 26 || 26 || ... || .423 || ... || .811 || 7.5 || 4.0 || ... || ... || 43.8
|-
| style="text-align:left;"| 1968–69
| style="text-align:left;"| Louisiana State
| 26 || 26 || ... || .444 || ... || .746 || 6.5 || 4.9 || ... || ... || 44.2
|-
| style="text-align:left;"| 1969–70
| style="text-align:left;"| Louisiana State
| 31 || 31 || ... || .447 || ... || .773 || 5.3 || 6.2 || ... || ... || 44.5
|-
| style="text-align:left;" colspan=2|Career
| 83 || 83 || ... || .438 || ... || .775 || 6.5 || 5.1 || ... || ... || 44.2
Professional career
Atlanta Hawks
The Atlanta Hawks selected Maravich with the third pick in the first round of the 1970 NBA draft, where he played for coach Richie Guerin. He was not a natural fit in Atlanta, as the Hawks already boasted a top-notch scorer at the guard position in Lou Hudson. In fact, Maravich's flamboyant style stood in stark contrast to the conservative play of Hudson and star center Walt Bellamy. And it did not help that many of the veteran players resented the $1.9 million contract that Maravich received from the team—a very large salary at that time.
Maravich appeared in 81 games and averaged 23.2 points per contest—good enough to earn NBA All-Rookie Team honors. And he managed to blend his style with his teammates, so much so that Hudson set a career high by scoring 26.8 points per game. But the team stumbled to a 36–46 record—12 wins fewer than in the previous season. Still, the Hawks qualified for the playoffs, where they lost to the New York Knicks in the first round.
Maravich struggled somewhat during his second season. His scoring average dipped to 19.3 points per game, and the Hawks finished with another disappointing 36–46 record. Once again they qualified for the playoffs, and once again they were eliminated in the first round. However, Atlanta fought hard against the Boston Celtics, with Maravich averaging 27.7 points in the series.
Maravich erupted in his third season, averaging 26.1 points (5th in the NBA) and dishing out 6.9 assists per game (6th in the NBA). With 2,063 points, he combined with Hudson (2,029 points) to become only the second set of teammates in league history to each score over 2,000 points in a single season. The Hawks soared to a 46–36 record, but again bowed out in the first round of the playoffs. However, the season was good enough to earn Maravich his first-ever appearance in the NBA All-Star Game, and also All-NBA Second Team honors.
The following season (1973–74) was his best yet—at least in terms of individual accomplishments. Maravich posted 27.7 points per game—second in the league behind Bob McAdoo—and earned his second appearance in the All-Star Game. However, Atlanta sank to a disappointing 35–47 record and missed the postseason entirely.
New Orleans Jazz
In the summer of 1974, an expansion franchise was preparing for its first season of competition in the NBA. The New Orleans Jazz were looking for something or someone to generate excitement among their new basketball fans. With his exciting style of play, Maravich was seen as the perfect man for the job. Additionally, he was already a celebrity in the state due to his accomplishments at LSU. To acquire Maravich, the Jazz traded two players and four draft picks to Atlanta.
The expansion team struggled mightily in its first season. Maravich managed to score 21.5 points per game, but shot a career-worst 41.9 percent from the floor. The Jazz posted a 23–59 record, worst in the NBA.
Jazz management did its best to give Maravich a better supporting cast. The team posted a 38–44 record in its second season (1975–76) but did not qualify for postseason play, despite the dramatic improvement. Maravich struggled with injuries that limited him to just 62 games that season, but he averaged 25.9 points per contest (third behind McAdoo and Kareem Abdul-Jabbar) and continued his crowd-pleasing antics. He was elected to the All-NBA First Team that year.
The following season (1976–77) was his most productive in the NBA. He led the league in scoring with an average of 31.1 points per game. He scored 40 points or more in 13 games, and 50 or more in 4 games. His 68-point masterpiece against the Knicks was at the time the most points ever scored by a guard in a single game, and only two players at any position had ever scored more: Wilt Chamberlain and Elgin Baylor. Baylor was head coach of the Jazz at that time.
Maravich earned his third all-star game appearance and was honored as All-NBA First Team for the second consecutive season.
The following season, injuries to both knees forced him to miss 32 games during the 1977–78 season. Despite being robbed of some quickness and athleticism, he still managed to score 27.0 points per game, and he also added 6.7 assists per contest, his highest average as a member of the Jazz. Many of those assists went to new teammate Truck Robinson, who had joined the franchise as a free agent during the off-season. In his first year in New Orleans, he averaged 22.7 points and a league-best 15.7 rebounds per game. His presence prevented opponents from focusing their defensive efforts entirely on Maravich, and it lifted the Jazz to a 39–43 record—just short of making the club's first-ever appearance in the playoffs.
Knee problems plagued Maravich for the rest of his career. He played in just 49 games during the 1978–79 season. He scored 22.6 points per game that season and earned his fifth and final All-Star appearance. But his scoring and passing abilities were severely impaired. The team struggled on the court, and faced serious financial trouble as well. Management became desperate to make some changes. The Jazz traded Robinson to the Phoenix Suns, receiving draft picks and some cash in return. However, in 1979, team owner Sam Battistone moved the Jazz to Salt Lake City.
Final season
The Utah Jazz began play in the 1979–80 season. Maravich moved with the team to Salt Lake City, but his knee problems were worse than ever. He appeared in 17 games early in the season, but his injuries prevented him from practicing much, and new coach Tom Nissalke had a strict rule that players who didn't practice were not allowed to play in games. Thus, Maravich was parked on the bench for 24 straight games, much to the dismay of Utah fans and to Maravich himself. During that time, Adrian Dantley emerged as the team's franchise player.
The Jazz placed Maravich on waivers in January 1980. He signed with the Celtics, the top team in the league that year, led by rookie superstar Larry Bird. Maravich adjusted to a new role as part-time contributor, giving Boston a "hired gun" off the bench. He helped the team post a 61–21 record in the regular season, best in the league. And, for the first time since his early career in Atlanta, Maravich was able to participate in the NBA playoffs. He appeared in nine games during that postseason, but the Celtics were upended by Julius Erving and the Philadelphia 76ers in the Eastern Conference finals, four games to one.
Realizing that his knee problems would never go away, Maravich retired at the end of that season. The NBA instituted the 3-point shot just in time for Maravich's last season in the league. He had always been famous for his long-range shooting, and his final year provided an official statistical gauge of his abilities. Between his limited playing time in Utah and Boston, he made 10 of 15 3-point shots, giving him a career 66.7% completion rate behind the arc.
During his ten-year career in the NBA, Maravich played in 658 games, averaging 24.2 points and 5.4 assists per contest. In 1987, he was inducted into the Naismith Memorial Basketball Hall of Fame, and his No. 7 jersey has been retired by both the Jazz and the New Orleans Pelicans, as well as his No. 44 jersey by the Atlanta Hawks.
NBA career statistics
Regular season
|-
| style="text-align:left;"| 1970–71
| style="text-align:left;"| Atlanta
| 81 || ... || 36.1 || .458 || ... || .800 || 3.7 || 4.4 || ... || ... || 23.2
|-
| style="text-align:left;"| 1971–72
| style="text-align:left;"| Atlanta
| 66 || ... || 34.9 || .427 || ... || .811 || 3.9 || 6.0 || ... || ... || 19.3
|-
| style="text-align:left;"| 1972–73
| style="text-align:left;"| Atlanta
| 79 || ... || 39.1 || .441 || ... || .800 || 4.4 || 6.9 || ... || ... || 26.1
|-
| style="text-align:left;"| 1973–74
| style="text-align:left;"| Atlanta
| 76 || ... || 38.2 || .457 || ... || .826 || 4.9 || 5.2 || 1.5 || .2 || 27.7
|-
| style="text-align:left;"| 1974–75
| style="text-align:left;"| New Orleans
| 79 || ... || 36.1 || .419 || ... || .811 || 5.3 || 6.2 || 1.5 || .2 || 21.5
|-
| style="text-align:left;"| 1975–76
| style="text-align:left;"| New Orleans
| 62 || ... || 38.3 || .459|| ... || .811 || 4.8 || 5.4 || 1.4 || .4 || 25.9
|-
| style="text-align:left;"| 1976–77
| style="text-align:left;"| New Orleans
| 73 || ... || 41.7 || .433 || ... || .835 || 5.1 || 5.4 || 1.2 || .3 ||style="background:#cfecec;"| 31.1*
|-
| style="text-align:left;"| 1977–78
| style="text-align:left;"| New Orleans
| 50 || ... || 40.8 || .444 || ... || .870 || 3.6 || 6.7 || 2.0 || .2 || 27.0
|-
| style="text-align:left;"| 1978–79
| style="text-align:left;"| New Orleans
| 49 || ... || 37.2 || .421 || ... || .841 || 2.5 || 5.0 || 1.2 || .4 || 22.6
|-
| style="text-align:left;"| 1979–80
| style="text-align:left;"| Utah
| 17 || ... || 30.7 || .412 || .636 || .820 || 2.4 || 3.2 || .9 || .2 || 17.1
|-
| style="text-align:left;"| 1979–80
| style="text-align:left;"| Boston
| 26 || 4 || 17.0 || .494 || .750 ||.909 || 1.5 || 1.1 || .3 || .1 || 11.5
|- class="sortbottom"
| style="text-align:center;" colspan="2"| Career
| 658 || ... || 37.0 || .441 || .667 || .820 || 4.2 || 5.4 || 1.4 || .3 || 24.2
|- class="sortbottom"
| style="text-align:center;" colspan="2"| All-Star
| 4 || 4 || 19.8 || .409 || ... || .778 || 2.0 || 3.8 || 1.0 || 0.0 || 10.8
Playoffs
|-
| style="text-align:left;"| 1971
| style="text-align:left;"| Atlanta
| 5 || ... || 39.8 || .377 || ... || .692 || 5.2 || 4.8 || ... || ... || 22.0
|-
| style="text-align:left;"| 1972
| style="text-align:left;"| Atlanta
| 6 || ... || 36.5 || .446 || ... || .817 || 5.3 || 4.7 || ... || ... || 27.7
|-
| style="text-align:left;"| 1973
| style="text-align:left;"| Atlanta
| 6 || ... || 39.0 || .419 || ... || .794 || 4.8 || 6.7 || ... || ... || 26.2
|-
| style="text-align:left;"| 1980
| style="text-align:left;"| Boston
| 9 || ... || 11.6 || .490 || .333 || .667 || .9 || .7 || .3 || .0 || 6.0
|-
| style="text-align:center;" colspan=2|Career
| 26 || ... || 29.1 || .423 || .333 || .784 || 3.6 || 3.8 || ... || ... || 18.7
|-
Later life and death
After injuries forced his retirement from the game in the fall of 1980, Maravich became a recluse for two years. Through it all, Maravich said he was searching "for life". He tried the practices of yoga and Hinduism, read Trappist monk Thomas Merton's The Seven Storey Mountain and took an interest in the field of ufology, the study of unidentified flying objects. He also explored vegetarianism and macrobiotics, adopting a vegetarian diet in 1982. Eventually, he became a born-again Christian, embracing evangelical Christianity. A few years before his death, Maravich said, "I want to be remembered as a Christian, a person that serves Him [Jesus] to the utmost, not as a basketball player."
On January 5, 1988, Maravich collapsed and died of heart failure at age 40 while playing in a pickup basketball game in the gym at First Church of the Nazarene in Pasadena, California, with a group that included evangelical author James Dobson. Maravich had flown out from his home in Louisiana to tape a segment for Dobson's radio show that aired later that day. Dobson has said that Maravich's last words, less than a minute before he died, were "I feel great." An autopsy revealed the cause of death to be a rare congenital defect; he had been born with a missing left coronary artery, a vessel that supplies blood to the muscle fibers of the heart. His right coronary artery was grossly enlarged and had been compensating for the defect.
Maravich died the year after his father's passing and a number of years after his mother, who had died of suicide with a self-inflicted gunshot. Maravich is buried at Resthaven Gardens of Memory and Mausoleum in Baton Rouge, Louisiana.
Legacy
Maravich was survived by his wife Jackie and his sons Jaeson, who was 8 years old at the time of his death, and Josh, aged 5. Only the previous year, Maravich had taken Jaeson to the 1987 NBA All-Star Game in Seattle, Washington, and introduced him to Michael Jordan.
Since Maravich's children were very young when he died, Jackie Maravich initially shielded them from unwanted media attention, not even allowing Jaeson and Josh to attend their father's funeral. However, a proclivity to basketball seemed to be an inherited trait. During a 2003 interview, Jaeson told USA Today that, when he was still only a toddler, "My dad passed me a (Nerf) basketball, and I've been hooked ever since ... My dad said I shot and missed, and I got mad and I kept shooting. He said his dad told him he did the same thing."
Despite some setbacks coping with their father's death and without the benefit that his tutelage might have provided, both sons eventually were inspired to play high school and collegiate basketball—Josh at his father's alma mater, LSU.
On June 27, 2014, Governor Bobby Jindal proposed that LSU erect a statue of Maravich outside the Assembly Center, which already bore the basketball star's name. Former coach Dale Brown opposed such a monument, but Maravich's widow, Jackie McLachlan, said that she had been promised a statue after the passing of her husband. McLachlan said that she has noticed how fans struggle to get the Maravich name on the Assembly Center into a camera frame.
In February 2016, the LSU Athletic Hall of Fame Committee unanimously approved a proposal that a statue honoring Maravich be installed on the campus.
A street in Belgrade, Serbia, is named after Pete Maravich.
Memorabilia
Maravich's untimely death and mystique have made memorabilia associated with him among the most highly prized of any basketball collectibles. Game-used Maravich jerseys bring more money at auction than similar items from anybody other than George Mikan, with the most common items selling for $10,000 and up and a game-used LSU jersey selling for $94,300 in a 2001 Grey Flannel auction. The signed game ball from his career-high 68-point night on February 25, 1977, sold for $131,450 in a 2009 Heritage auction.
Honors, books, films and music
In 1987, roughly a year before his death, Maravich co-authored an award-winning (Gold Medallion) autobiography with Darrel Campbell titled Heir to a Dream that devoted much focus to his life after retirement from basketball and his later devotion to Christianity.
In 1987, Maravich and Darrel Campbell produced the four-episode basketball instructional video series Pistol Pete's Homework Basketball.
In 1988, Frank Schroeder and Darrel Campbell produced the documentary based on Pete Maravich's college career titled, Maravich Memories: The LSU Years.
After Maravich's death, Louisiana Governor Buddy Roemer signed a proclamation officially renaming the LSU home court the Pete Maravich Assembly Center.
In 1991, a biographical film written and produced by Darrel Campbell dramatizing his 8th-grade season entitled The Pistol: The Birth of a Legend was released.
In 1996, he was named one of the 50 Greatest Players in NBA History by a panel made up of NBA historians, players, and coaches. He was the only deceased player on the list. At the 1997 All-Star Game in Cleveland, he was represented by his two sons at halftime.
In 2001, a comprehensive 90-minute documentary film debuted on CBS entitled Pistol Pete: The Life and Times of Pete Maravich.
In 2005, ESPNU named Maravich the greatest college basketball player of all time.
In 2007, two biographies of Maravich were released: Maravich by Wayne Federman and Marshall Terrill and Pistol by Mark Kriegel. Also in 2007, to promote Mark Kriegel's book "Pistol", Fox Sports conducted a contest to find "Pete Maravich's Biggest Fan". The winner was Scott Pollack of Sunrise, FL.
In 2021, he was named one of the members of the NBA 75th Anniversary Team by a panel made up of NBA historians, players and coaches. He was one of the deceased players on the list.
In 1970, during his LSU days, Acapulco Music/The Panama Limited released "The Ballad of Pete Maravich by Bob Tinney and Woody Jenkins.
The Ziggens, a band from Southern California, wrote a song about Maravich entitled "Pistol Pete".
Collegiate awards
The Sporting News College Player of the Year (1970)
USBWA College Player of the Year (1969, 1970)
Naismith Award Winner (1970)
Helms Foundation Player of the Year (1970)
UPI Player of the Year (1970)
Sporting News Player of the Year (1970)
AP College Player of the Year (1970)
The Sporting News All-America First Team (1968, 1969, 1970)
Three-time AP and UPI First-Team All-America (1968, 1969, 1970)
Led the NCAA Division I in scoring with 43.8 ppg (1968); 44.2 (1969) and 44.5 ppg (1970)
Averaged 43.6 ppg on the LSU freshman team (1967)
Scored a career-high 69 points vs. Alabama (); 66 vs. Tulane (); 64 vs. Kentucky (); 61 vs. Vanderbilt ()
Holds LSU records for most field goals made (26) and attempted (57) in a game against Vanderbilt on
All-Southeastern Conference (1968, 1969, 1970)
#23 Jersey retired by LSU (2007)
In 1970, Maravich led LSU to a 20–8 record and a fourth-place finish in the National Invitation Tournament
Collegiate records
Points, career: 3,667 (three seasons)
Highest scoring average, points per game, career: 44.2 (3,667 points/83 games)
Points, season: 1,381 (1970)
Highest scoring average, points per game, season: 44.5 (1,381/31) (1970)
Games scoring 50 or more points, career: 28
Games scoring 50 or more points, season: 10 (1970)
Field goals made, career: 1,387
Field goals made, season: 522 (1970)
Field goal attempts, career: 3,166
Field goal attempts, season: 1,168 (1970)
Free throws made, game: 30 (in 31 attempts), vs. Oregon State,
Tied by Ben Woodside, North Dakota State, on
NBA awards
NBA All-Rookie Team
All-NBA First Team (1976, 1977)
All-NBA Second Team (1973, 1978)
Five-time NBA All-Star (1973, 1974, 1977, 1978, 1979)
Led the league in scoring (31.1 ppg) in 1977, his career best
Scored a career-high 68 points against the New York Knicks on February 25, 1977
#7 jersey retired by the Utah Jazz (1985)
#7 jersey retired by the Superdome (1988)
NBA 50th Anniversary All-Time Team (1996)
NBA 75th Anniversary Team (2021)
#7 jersey retired by the New Orleans Hornets (now Pelicans) (2002), even though he never played for them—one of only four players to have a number retired by a team they did not play for; Maravich did play professionally for the New Orleans Jazz, however, and has remained a greatly admired figure amongst New Orleans sports fans ever since.
#44 jersey retired by the Atlanta Hawks (2017)
NBA records
Free throws made, quarter: 14, Pete Maravich, third quarter, Atlanta Hawks vs. Buffalo Braves,
Broken by Vince Carter on
Free throw attempts, quarter: 16, Pete Maravich, second quarter, Atlanta Hawks at Chicago Bulls,
Broken by Ben Wallace on
Second pair of teammates in NBA history to score 2,000 or more points in a season: 2, Atlanta Hawks ()
Maravich: 2,063
Lou Hudson: 2,029
Third pair of teammates in NBA history to score 40 or more points in the same game: New Orleans Jazz vs. Denver Nuggets,
Maravich: 45
Nate Williams: 41
David Thompson of the Denver Nuggets also scored 40 points in this game.
Ranks 4th in NBA history – Free throws made, none missed, game: 18–18, Pete Maravich, Atlanta Hawks vs. Buffalo Braves,
Ranks 5th in NBA history – Free throws made, game: 23, Pete Maravich, New Orleans Jazz vs. New York Knicks, (2 OT)
See also
List of individual National Basketball Association scoring leaders by season
List of National Basketball Association players with most points in a game
List of NCAA Division I men's basketball players with 60 or more points in a game
List of NCAA Division I men's basketball season scoring leaders
List of NCAA Division I men's basketball career scoring leaders
List of NCAA Division I men's basketball career free throw scoring leaders
List of National Basketball Association annual minutes leaders
Further reading
Campbell, Darrel (2019). Hero & Friend: My Days with Pistol Pete. Percussion Films. .
Brown, Danny (2008). Shooting the Pistol: Courtside Photographs of Pete Maravich at LSU. Louisiana State University Press
References
External links
NBA Historical Bio
ESPN bio
Pete Maravich's Greatest Achievement
‘68 All College MVP - 4 Days with Pistol Pete
Pete Maravich Bio LSU Tigers Athletics
1947 births
1988 deaths
All-American college men's basketball players
American evangelicals
American men's basketball players
American people of Serbian descent
Atlanta Hawks draft picks
Atlanta Hawks players
Basketball players from Pennsylvania
Boston Celtics players
College basketball announcers in the United States
LSU Tigers 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
Needham B. Broughton High School alumni
New Orleans Jazz players
Parade High School All-Americans (boys' basketball)
People from Aliquippa, Pennsylvania
Shooting guards
Sportspeople from the Pittsburgh metropolitan area
Basketball players from Raleigh, North Carolina
Utah Jazz players
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"Pietro Carnesecchi (24 December 1508 – 1 October 1567) was an Italian humanist.\n\nBiography\nBorn in Florence, he was the son of a da Andrea Carnesecchi, a merchant who under the patronage of the Medici, and especially of Giulio de' Medici as Pope Clement VII, rapidly rose to high office at the papal court.\n\nHe came into touch with the new learning at the house of his maternal uncle, Cardinal Bernardo Dovizi, in Rome. At the age of twenty-five he held several rich livings, had been notary and protonotary to the Curia and was first secretary to the pope, in which capacity he conducted the correspondence with the nuncios (among them Pier Paolo Vergerio in Germany) and a host of other duties.\n\nBy his conduct at the conference with Francis I of France at Marseille he won the favour of Catherine de' Medici and other influential personages at the French court, who in later days befriended him. He made the acquaintance of the Spanish reformer Juan de Valdés at Rome, and got to know him as a theologian at Naples, being especially drawn to him through the appreciation expressed by Bernardino Ochino, and through their mutual friendship with the Lady Giulia Gonzaga, whose spiritual adviser he became after the death of Valdés. He became a leading spirit in the literary and religious circle that gathered round Valdés in Naples, and that aimed at effecting from within the spiritual reformation of the church. Under Valdés' influence he wholeheartedly accepted Luther's doctrine of justification by faith, though he repudiated a policy of schism.\n\nHe was also an intimate friend of the poet Vittoria Colonna, whom he met in Fondi in 1535.\n\nWhen the movement of suppression began, Carnesecchi was implicated. For a time he found shelter with his friends in Paris, and from 1552 he was in Venice leading the party of reform in that city. In 1557 he was cited (for the second time) before the tribunal in Rome, but refused to appear. The death of Pope Paul IV and the accession of Pope Pius IV in 1559 made his position easier, and he came to live in Rome. With the accession of Pope Pius V in 1566 the Inquisition renewed its activities with fiercer zeal than ever.\n\nCarnesecchi was in Venice when the news reached him, and betook himself to Florence, where, thinking himself safe, he was betrayed by Duke Cosimo I de' Medici, who wished to curry favour with the pope. From July 1566 he lay in prison over a year. On 21 September 1567 a sentence of degradation and death was passed on him and sixteen others, ambassadors from Florence vainly kneeling to the pope for some mitigation, and on 1 October he was publicly beheaded and then burned.\n\nReferences\n\nExternal links\nHistory of the Carnesecchi family\nHistory of the Carnesecchi family\n\n1508 births\n1567 deaths\n16th-century executions by Italian states\n16th-century people of the Republic of Florence\nApostolic pronotaries\nExecuted Italian people\nItalian Renaissance humanists\nPeople executed by the Papal States by decapitation\nPeople executed for heresy\nVictims of the Inquisition",
"Henri Agasse (14 April 1752 – 1 May 1813), was a French publisher and editor, associated with Charles-Joseph Panckoucke.\n\nBiography \nThe son of Guillaume Agasse, lord of Maurevert and Cresne, accounts clerk of the royal household and chamber and the Chevalier de Maurevert, in 1787 he married Antoinette Pauline Panckoucke, daughter of the editor Charles-Joseph Panckoucke. A privy-counsellor to the House and Crown of France, he was himself an Officer of the Goblets of the King's Household and a citizen of Paris.\n\nIn 1794, the latter associated him with the development of the family publishing house and the involved him in maintaining the Lisle bookstore following the death of Placide Panckoucke in 1800.\n\nAgasse became the owner of his father-in-law's Encyclopédie méthodique and of Le Moniteur universel.\n\nHis publishing house was located in Paris from (1790-1813) at number 12 rue Pavée and at numbers 13, 18, and 6 rue des Poitevins.\n\nPolitically, he was a member of the first electoral assembly of Paris, held at the beginning of October 1790 and he was licensed as a printer 1 April 1811.\n\nOn his death, his widow was licensed to succeed him as printer on 11 May 1813.\n\nSuccession \nHis nephew Henry Agasse de Cresne was a notary from 1810 to 1837 and a shareholder of the Bank of France. He was involved in the recovery after 1847 of the maison Panckoucke (lost by Charles-Louis-Fleury Panckoucke) and he lived in a chateau near Melun. At his death, his estate was evaluated at more than 3.5 million.\n\nReferences \n \n \n\nPublishers (people) from Paris\nFrench editors\nPanckoucke family\n1752 births\n1813 deaths\nBurials at Père Lachaise Cemetery"
] |
[
"Pete Maravich",
"Legacy",
"What was Maravich's legacy?",
"Maravich was survived by his wife Jackie and his two sons Jaeson, who was 8 years old, and Josh, aged 5.",
"Was his family with him at the time of his death?",
"I don't know."
] |
C_944020ab787349289f7fba127ae6bd15_0
|
Was Maravich involved with any type of charity organizations?
| 3 |
Was Pete Maravich involved with any type of charity organizations?
|
Pete Maravich
|
Maravich was survived by his wife Jackie and his two sons Jaeson, who was 8 years old, and Josh, aged 5. Only the previous year, Maravich had taken Jaeson to the 1987 NBA All-Star Game in Seattle, Washington, and introduced him to Michael Jordan. Since Maravich's children were very young when he died, Jackie Maravich initially shielded them from unwanted media attention, not even allowing Jaeson and Josh to attend their father's funeral. However, a proclivity to basketball seemed to be an inherited trait. During a 2003 interview, Jaeson told USA Today that, when he was still only a toddler, "My dad passed me a (Nerf) basketball, and I've been hooked ever since... . My dad said I shot and missed, and I got mad and I kept shooting. He said his dad told him he did the same thing." Despite some setbacks coping with their father's death and without the benefit that his tutelage might have provided, both sons eventually were inspired to play high school and collegiate basketball--Josh at his father's alma mater, LSU. On June 27, 2014, Governor Bobby Jindal proposed that LSU erect a statue of Maravich outside the Assembly Center which already bears the basketball star's name. Former coach Dale Brown opposes such a monument, but Maravich's widow, Jackie McLachlan, said that she had been promised a statue after the passing of her husband. McLachlan said that she has noticed how fans struggle to get the Maravich name on the Assembly Center into a camera frame. In February 2016, the LSU Athletic Hall of Fame Committee unanimously approved a proposal that a statue honoring Maravich be installed on the campus. CANNOTANSWER
|
CANNOTANSWER
|
Peter Press Maravich (; June 22, 1947 – January 5, 1988), known by his nickname Pistol Pete, was an American professional basketball player. Maravich was born in Aliquippa, Pennsylvania, part of the Pittsburgh metropolitan area, and raised in the Carolinas. Maravich starred in college with the LSU Tigers while playing for his father, head coach Press Maravich. He is the all-time leading NCAA Division I scorer with 3,667 points scored and an average of 44.2 points per game. All of his accomplishments were achieved before the adoption of the three-point line and shot clock, and despite being unable to play varsity as a freshman under then-NCAA rules. He played for three National Basketball Association (NBA) teams until injuries forced his retirement in 1980 following a 10-year professional career.
One of the youngest players ever inducted into the Naismith Memorial Basketball Hall of Fame, Maravich was considered to be one of the greatest creative offensive talents ever and one of the best ball handlers of all time. He died suddenly at age 40 during a pick-up game in 1988 as a consequence of an undetected heart defect.
Early life
Maravich was born to Peter "Press" Maravich (1915–1987) and Helen Gravor Maravich (1925–1974) in Aliquippa, a steel town in Beaver County in western Pennsylvania, near Pittsburgh. Maravich amazed his family and friends with his basketball abilities from an early age. He enjoyed a close but demanding father-son relationship that motivated him toward achievement and fame in the sport. Maravich's father was the son of Serbian immigrants and a professional player–turned-coach. He showed him the fundamentals starting when he was seven years old. Obsessively, Maravich spent hours practicing ball control tricks, passes, head fakes, and long-range shots.
Maravich played high school varsity ball at Daniel High School in Central, South Carolina, a year before being old enough to attend the school. While at Daniel from 1961 to 1963, Maravich participated in the school's first-ever game against a team from an all-black school. In 1963 his father departed from his position as head basketball coach at Clemson University and joined the coaching staff at North Carolina State University. The Maravich family's subsequent move to Raleigh, North Carolina, allowed Maravich to attend Needham B. Broughton High School. His high school years also saw the birth of his famous moniker. From his habit of shooting the ball from his side, as if holding a revolver, Maravich became known as "Pistol" Pete Maravich. He graduated from Needham B. Broughton High School in 1965 and then attended Edwards Military Institute, where he averaged 33 points per game. Maravich never liked school and did not like Edwards Military Institute. It was known that Press Maravich was extremely protective of Maravich and would guard against any issue that might come up during his adolescence. Press threatened to shoot Maravich with a 45 caliber pistol if he drank or got into trouble. Maravich was 6 feet 4 inches in high school and was getting ready to play in college when his father took a coaching position at Louisiana State University.
College career
At that time NCAA rules prohibited first-year students from playing at varsity level, which forced Maravich to play on the freshman team. In his first game, Maravich put up 50 points, 14 rebounds and 11 assists against Southeastern Louisiana College.
In only three years playing on the varsity team (and under his father's coaching) at LSU, Maravich scored 3,667 points—1,138 of those in 1967–68, 1,148 in 1968–69, and 1,381 in 1969–70—while averaging 43.8, 44.2, and 44.5 points per game, respectively. For his collegiate career, the 6'5" (1.96 m) guard averaged 44.2 points per game in 83 contests and led the NCAA in scoring for each of his three seasons.
Maravich's long-standing collegiate scoring record is particularly notable when three factors are taken into account:
First, because of the NCAA rules that prohibited him from taking part in varsity competition during his first year as a student, Maravich was prevented from adding to his career record for a full quarter of his time at LSU. During this first year, Maravich scored 741 points in freshman competition.
Second, Maravich played before the advent of the three-point line. This significant difference has raised speculation regarding just how much higher his records would be, given his long-range shooting ability and how such a component might have altered his play. Writing for ESPN.com, Bob Carter stated, "Though Maravich played before [...] the 3-point shot was established, he loved gunning from long range." It has been reported that former LSU coach Dale Brown charted every shot Maravich scored and concluded that, if his shots from three-point range had been counted as three points, Maravich's average would have totaled 57 points per game. And 12 Three Pointer per game.
Third, the shot clock had also not yet been instituted in NCAA play during Maravich's college career. (A time limit on ball possession speeds up play, mandates an additional number of field goal attempts, eliminates stalling, and increases the number of possessions throughout the game, all resulting in higher overall scoring.)
More than 50 years later, however, many of his NCAA and LSU records still stand. Maravich was a three-time All-American. Though he never appeared in the NCAA tournament, Maravich played a key role in turning around a lackluster program that had posted a 3–20 record in the season prior to his arrival. Maravich finished his college career in the 1970 National Invitation Tournament, where LSU finished fourth.
NCAA career statistics
Freshman
At this time, freshmen did not play on the varsity team and these stats do not count in the NCAA record books.
|-
| style="text-align:left;"| 1966–67
| style="text-align:left;"| Louisiana State
| 19 || 19 || ... || .452 || ... || .833 || 10.4 || ... || ... || ... || 43.6
Varsity
|-
| style="text-align:left;"| 1967–68
| style="text-align:left;"| Louisiana State
| 26 || 26 || ... || .423 || ... || .811 || 7.5 || 4.0 || ... || ... || 43.8
|-
| style="text-align:left;"| 1968–69
| style="text-align:left;"| Louisiana State
| 26 || 26 || ... || .444 || ... || .746 || 6.5 || 4.9 || ... || ... || 44.2
|-
| style="text-align:left;"| 1969–70
| style="text-align:left;"| Louisiana State
| 31 || 31 || ... || .447 || ... || .773 || 5.3 || 6.2 || ... || ... || 44.5
|-
| style="text-align:left;" colspan=2|Career
| 83 || 83 || ... || .438 || ... || .775 || 6.5 || 5.1 || ... || ... || 44.2
Professional career
Atlanta Hawks
The Atlanta Hawks selected Maravich with the third pick in the first round of the 1970 NBA draft, where he played for coach Richie Guerin. He was not a natural fit in Atlanta, as the Hawks already boasted a top-notch scorer at the guard position in Lou Hudson. In fact, Maravich's flamboyant style stood in stark contrast to the conservative play of Hudson and star center Walt Bellamy. And it did not help that many of the veteran players resented the $1.9 million contract that Maravich received from the team—a very large salary at that time.
Maravich appeared in 81 games and averaged 23.2 points per contest—good enough to earn NBA All-Rookie Team honors. And he managed to blend his style with his teammates, so much so that Hudson set a career high by scoring 26.8 points per game. But the team stumbled to a 36–46 record—12 wins fewer than in the previous season. Still, the Hawks qualified for the playoffs, where they lost to the New York Knicks in the first round.
Maravich struggled somewhat during his second season. His scoring average dipped to 19.3 points per game, and the Hawks finished with another disappointing 36–46 record. Once again they qualified for the playoffs, and once again they were eliminated in the first round. However, Atlanta fought hard against the Boston Celtics, with Maravich averaging 27.7 points in the series.
Maravich erupted in his third season, averaging 26.1 points (5th in the NBA) and dishing out 6.9 assists per game (6th in the NBA). With 2,063 points, he combined with Hudson (2,029 points) to become only the second set of teammates in league history to each score over 2,000 points in a single season. The Hawks soared to a 46–36 record, but again bowed out in the first round of the playoffs. However, the season was good enough to earn Maravich his first-ever appearance in the NBA All-Star Game, and also All-NBA Second Team honors.
The following season (1973–74) was his best yet—at least in terms of individual accomplishments. Maravich posted 27.7 points per game—second in the league behind Bob McAdoo—and earned his second appearance in the All-Star Game. However, Atlanta sank to a disappointing 35–47 record and missed the postseason entirely.
New Orleans Jazz
In the summer of 1974, an expansion franchise was preparing for its first season of competition in the NBA. The New Orleans Jazz were looking for something or someone to generate excitement among their new basketball fans. With his exciting style of play, Maravich was seen as the perfect man for the job. Additionally, he was already a celebrity in the state due to his accomplishments at LSU. To acquire Maravich, the Jazz traded two players and four draft picks to Atlanta.
The expansion team struggled mightily in its first season. Maravich managed to score 21.5 points per game, but shot a career-worst 41.9 percent from the floor. The Jazz posted a 23–59 record, worst in the NBA.
Jazz management did its best to give Maravich a better supporting cast. The team posted a 38–44 record in its second season (1975–76) but did not qualify for postseason play, despite the dramatic improvement. Maravich struggled with injuries that limited him to just 62 games that season, but he averaged 25.9 points per contest (third behind McAdoo and Kareem Abdul-Jabbar) and continued his crowd-pleasing antics. He was elected to the All-NBA First Team that year.
The following season (1976–77) was his most productive in the NBA. He led the league in scoring with an average of 31.1 points per game. He scored 40 points or more in 13 games, and 50 or more in 4 games. His 68-point masterpiece against the Knicks was at the time the most points ever scored by a guard in a single game, and only two players at any position had ever scored more: Wilt Chamberlain and Elgin Baylor. Baylor was head coach of the Jazz at that time.
Maravich earned his third all-star game appearance and was honored as All-NBA First Team for the second consecutive season.
The following season, injuries to both knees forced him to miss 32 games during the 1977–78 season. Despite being robbed of some quickness and athleticism, he still managed to score 27.0 points per game, and he also added 6.7 assists per contest, his highest average as a member of the Jazz. Many of those assists went to new teammate Truck Robinson, who had joined the franchise as a free agent during the off-season. In his first year in New Orleans, he averaged 22.7 points and a league-best 15.7 rebounds per game. His presence prevented opponents from focusing their defensive efforts entirely on Maravich, and it lifted the Jazz to a 39–43 record—just short of making the club's first-ever appearance in the playoffs.
Knee problems plagued Maravich for the rest of his career. He played in just 49 games during the 1978–79 season. He scored 22.6 points per game that season and earned his fifth and final All-Star appearance. But his scoring and passing abilities were severely impaired. The team struggled on the court, and faced serious financial trouble as well. Management became desperate to make some changes. The Jazz traded Robinson to the Phoenix Suns, receiving draft picks and some cash in return. However, in 1979, team owner Sam Battistone moved the Jazz to Salt Lake City.
Final season
The Utah Jazz began play in the 1979–80 season. Maravich moved with the team to Salt Lake City, but his knee problems were worse than ever. He appeared in 17 games early in the season, but his injuries prevented him from practicing much, and new coach Tom Nissalke had a strict rule that players who didn't practice were not allowed to play in games. Thus, Maravich was parked on the bench for 24 straight games, much to the dismay of Utah fans and to Maravich himself. During that time, Adrian Dantley emerged as the team's franchise player.
The Jazz placed Maravich on waivers in January 1980. He signed with the Celtics, the top team in the league that year, led by rookie superstar Larry Bird. Maravich adjusted to a new role as part-time contributor, giving Boston a "hired gun" off the bench. He helped the team post a 61–21 record in the regular season, best in the league. And, for the first time since his early career in Atlanta, Maravich was able to participate in the NBA playoffs. He appeared in nine games during that postseason, but the Celtics were upended by Julius Erving and the Philadelphia 76ers in the Eastern Conference finals, four games to one.
Realizing that his knee problems would never go away, Maravich retired at the end of that season. The NBA instituted the 3-point shot just in time for Maravich's last season in the league. He had always been famous for his long-range shooting, and his final year provided an official statistical gauge of his abilities. Between his limited playing time in Utah and Boston, he made 10 of 15 3-point shots, giving him a career 66.7% completion rate behind the arc.
During his ten-year career in the NBA, Maravich played in 658 games, averaging 24.2 points and 5.4 assists per contest. In 1987, he was inducted into the Naismith Memorial Basketball Hall of Fame, and his No. 7 jersey has been retired by both the Jazz and the New Orleans Pelicans, as well as his No. 44 jersey by the Atlanta Hawks.
NBA career statistics
Regular season
|-
| style="text-align:left;"| 1970–71
| style="text-align:left;"| Atlanta
| 81 || ... || 36.1 || .458 || ... || .800 || 3.7 || 4.4 || ... || ... || 23.2
|-
| style="text-align:left;"| 1971–72
| style="text-align:left;"| Atlanta
| 66 || ... || 34.9 || .427 || ... || .811 || 3.9 || 6.0 || ... || ... || 19.3
|-
| style="text-align:left;"| 1972–73
| style="text-align:left;"| Atlanta
| 79 || ... || 39.1 || .441 || ... || .800 || 4.4 || 6.9 || ... || ... || 26.1
|-
| style="text-align:left;"| 1973–74
| style="text-align:left;"| Atlanta
| 76 || ... || 38.2 || .457 || ... || .826 || 4.9 || 5.2 || 1.5 || .2 || 27.7
|-
| style="text-align:left;"| 1974–75
| style="text-align:left;"| New Orleans
| 79 || ... || 36.1 || .419 || ... || .811 || 5.3 || 6.2 || 1.5 || .2 || 21.5
|-
| style="text-align:left;"| 1975–76
| style="text-align:left;"| New Orleans
| 62 || ... || 38.3 || .459|| ... || .811 || 4.8 || 5.4 || 1.4 || .4 || 25.9
|-
| style="text-align:left;"| 1976–77
| style="text-align:left;"| New Orleans
| 73 || ... || 41.7 || .433 || ... || .835 || 5.1 || 5.4 || 1.2 || .3 ||style="background:#cfecec;"| 31.1*
|-
| style="text-align:left;"| 1977–78
| style="text-align:left;"| New Orleans
| 50 || ... || 40.8 || .444 || ... || .870 || 3.6 || 6.7 || 2.0 || .2 || 27.0
|-
| style="text-align:left;"| 1978–79
| style="text-align:left;"| New Orleans
| 49 || ... || 37.2 || .421 || ... || .841 || 2.5 || 5.0 || 1.2 || .4 || 22.6
|-
| style="text-align:left;"| 1979–80
| style="text-align:left;"| Utah
| 17 || ... || 30.7 || .412 || .636 || .820 || 2.4 || 3.2 || .9 || .2 || 17.1
|-
| style="text-align:left;"| 1979–80
| style="text-align:left;"| Boston
| 26 || 4 || 17.0 || .494 || .750 ||.909 || 1.5 || 1.1 || .3 || .1 || 11.5
|- class="sortbottom"
| style="text-align:center;" colspan="2"| Career
| 658 || ... || 37.0 || .441 || .667 || .820 || 4.2 || 5.4 || 1.4 || .3 || 24.2
|- class="sortbottom"
| style="text-align:center;" colspan="2"| All-Star
| 4 || 4 || 19.8 || .409 || ... || .778 || 2.0 || 3.8 || 1.0 || 0.0 || 10.8
Playoffs
|-
| style="text-align:left;"| 1971
| style="text-align:left;"| Atlanta
| 5 || ... || 39.8 || .377 || ... || .692 || 5.2 || 4.8 || ... || ... || 22.0
|-
| style="text-align:left;"| 1972
| style="text-align:left;"| Atlanta
| 6 || ... || 36.5 || .446 || ... || .817 || 5.3 || 4.7 || ... || ... || 27.7
|-
| style="text-align:left;"| 1973
| style="text-align:left;"| Atlanta
| 6 || ... || 39.0 || .419 || ... || .794 || 4.8 || 6.7 || ... || ... || 26.2
|-
| style="text-align:left;"| 1980
| style="text-align:left;"| Boston
| 9 || ... || 11.6 || .490 || .333 || .667 || .9 || .7 || .3 || .0 || 6.0
|-
| style="text-align:center;" colspan=2|Career
| 26 || ... || 29.1 || .423 || .333 || .784 || 3.6 || 3.8 || ... || ... || 18.7
|-
Later life and death
After injuries forced his retirement from the game in the fall of 1980, Maravich became a recluse for two years. Through it all, Maravich said he was searching "for life". He tried the practices of yoga and Hinduism, read Trappist monk Thomas Merton's The Seven Storey Mountain and took an interest in the field of ufology, the study of unidentified flying objects. He also explored vegetarianism and macrobiotics, adopting a vegetarian diet in 1982. Eventually, he became a born-again Christian, embracing evangelical Christianity. A few years before his death, Maravich said, "I want to be remembered as a Christian, a person that serves Him [Jesus] to the utmost, not as a basketball player."
On January 5, 1988, Maravich collapsed and died of heart failure at age 40 while playing in a pickup basketball game in the gym at First Church of the Nazarene in Pasadena, California, with a group that included evangelical author James Dobson. Maravich had flown out from his home in Louisiana to tape a segment for Dobson's radio show that aired later that day. Dobson has said that Maravich's last words, less than a minute before he died, were "I feel great." An autopsy revealed the cause of death to be a rare congenital defect; he had been born with a missing left coronary artery, a vessel that supplies blood to the muscle fibers of the heart. His right coronary artery was grossly enlarged and had been compensating for the defect.
Maravich died the year after his father's passing and a number of years after his mother, who had died of suicide with a self-inflicted gunshot. Maravich is buried at Resthaven Gardens of Memory and Mausoleum in Baton Rouge, Louisiana.
Legacy
Maravich was survived by his wife Jackie and his sons Jaeson, who was 8 years old at the time of his death, and Josh, aged 5. Only the previous year, Maravich had taken Jaeson to the 1987 NBA All-Star Game in Seattle, Washington, and introduced him to Michael Jordan.
Since Maravich's children were very young when he died, Jackie Maravich initially shielded them from unwanted media attention, not even allowing Jaeson and Josh to attend their father's funeral. However, a proclivity to basketball seemed to be an inherited trait. During a 2003 interview, Jaeson told USA Today that, when he was still only a toddler, "My dad passed me a (Nerf) basketball, and I've been hooked ever since ... My dad said I shot and missed, and I got mad and I kept shooting. He said his dad told him he did the same thing."
Despite some setbacks coping with their father's death and without the benefit that his tutelage might have provided, both sons eventually were inspired to play high school and collegiate basketball—Josh at his father's alma mater, LSU.
On June 27, 2014, Governor Bobby Jindal proposed that LSU erect a statue of Maravich outside the Assembly Center, which already bore the basketball star's name. Former coach Dale Brown opposed such a monument, but Maravich's widow, Jackie McLachlan, said that she had been promised a statue after the passing of her husband. McLachlan said that she has noticed how fans struggle to get the Maravich name on the Assembly Center into a camera frame.
In February 2016, the LSU Athletic Hall of Fame Committee unanimously approved a proposal that a statue honoring Maravich be installed on the campus.
A street in Belgrade, Serbia, is named after Pete Maravich.
Memorabilia
Maravich's untimely death and mystique have made memorabilia associated with him among the most highly prized of any basketball collectibles. Game-used Maravich jerseys bring more money at auction than similar items from anybody other than George Mikan, with the most common items selling for $10,000 and up and a game-used LSU jersey selling for $94,300 in a 2001 Grey Flannel auction. The signed game ball from his career-high 68-point night on February 25, 1977, sold for $131,450 in a 2009 Heritage auction.
Honors, books, films and music
In 1987, roughly a year before his death, Maravich co-authored an award-winning (Gold Medallion) autobiography with Darrel Campbell titled Heir to a Dream that devoted much focus to his life after retirement from basketball and his later devotion to Christianity.
In 1987, Maravich and Darrel Campbell produced the four-episode basketball instructional video series Pistol Pete's Homework Basketball.
In 1988, Frank Schroeder and Darrel Campbell produced the documentary based on Pete Maravich's college career titled, Maravich Memories: The LSU Years.
After Maravich's death, Louisiana Governor Buddy Roemer signed a proclamation officially renaming the LSU home court the Pete Maravich Assembly Center.
In 1991, a biographical film written and produced by Darrel Campbell dramatizing his 8th-grade season entitled The Pistol: The Birth of a Legend was released.
In 1996, he was named one of the 50 Greatest Players in NBA History by a panel made up of NBA historians, players, and coaches. He was the only deceased player on the list. At the 1997 All-Star Game in Cleveland, he was represented by his two sons at halftime.
In 2001, a comprehensive 90-minute documentary film debuted on CBS entitled Pistol Pete: The Life and Times of Pete Maravich.
In 2005, ESPNU named Maravich the greatest college basketball player of all time.
In 2007, two biographies of Maravich were released: Maravich by Wayne Federman and Marshall Terrill and Pistol by Mark Kriegel. Also in 2007, to promote Mark Kriegel's book "Pistol", Fox Sports conducted a contest to find "Pete Maravich's Biggest Fan". The winner was Scott Pollack of Sunrise, FL.
In 2021, he was named one of the members of the NBA 75th Anniversary Team by a panel made up of NBA historians, players and coaches. He was one of the deceased players on the list.
In 1970, during his LSU days, Acapulco Music/The Panama Limited released "The Ballad of Pete Maravich by Bob Tinney and Woody Jenkins.
The Ziggens, a band from Southern California, wrote a song about Maravich entitled "Pistol Pete".
Collegiate awards
The Sporting News College Player of the Year (1970)
USBWA College Player of the Year (1969, 1970)
Naismith Award Winner (1970)
Helms Foundation Player of the Year (1970)
UPI Player of the Year (1970)
Sporting News Player of the Year (1970)
AP College Player of the Year (1970)
The Sporting News All-America First Team (1968, 1969, 1970)
Three-time AP and UPI First-Team All-America (1968, 1969, 1970)
Led the NCAA Division I in scoring with 43.8 ppg (1968); 44.2 (1969) and 44.5 ppg (1970)
Averaged 43.6 ppg on the LSU freshman team (1967)
Scored a career-high 69 points vs. Alabama (); 66 vs. Tulane (); 64 vs. Kentucky (); 61 vs. Vanderbilt ()
Holds LSU records for most field goals made (26) and attempted (57) in a game against Vanderbilt on
All-Southeastern Conference (1968, 1969, 1970)
#23 Jersey retired by LSU (2007)
In 1970, Maravich led LSU to a 20–8 record and a fourth-place finish in the National Invitation Tournament
Collegiate records
Points, career: 3,667 (three seasons)
Highest scoring average, points per game, career: 44.2 (3,667 points/83 games)
Points, season: 1,381 (1970)
Highest scoring average, points per game, season: 44.5 (1,381/31) (1970)
Games scoring 50 or more points, career: 28
Games scoring 50 or more points, season: 10 (1970)
Field goals made, career: 1,387
Field goals made, season: 522 (1970)
Field goal attempts, career: 3,166
Field goal attempts, season: 1,168 (1970)
Free throws made, game: 30 (in 31 attempts), vs. Oregon State,
Tied by Ben Woodside, North Dakota State, on
NBA awards
NBA All-Rookie Team
All-NBA First Team (1976, 1977)
All-NBA Second Team (1973, 1978)
Five-time NBA All-Star (1973, 1974, 1977, 1978, 1979)
Led the league in scoring (31.1 ppg) in 1977, his career best
Scored a career-high 68 points against the New York Knicks on February 25, 1977
#7 jersey retired by the Utah Jazz (1985)
#7 jersey retired by the Superdome (1988)
NBA 50th Anniversary All-Time Team (1996)
NBA 75th Anniversary Team (2021)
#7 jersey retired by the New Orleans Hornets (now Pelicans) (2002), even though he never played for them—one of only four players to have a number retired by a team they did not play for; Maravich did play professionally for the New Orleans Jazz, however, and has remained a greatly admired figure amongst New Orleans sports fans ever since.
#44 jersey retired by the Atlanta Hawks (2017)
NBA records
Free throws made, quarter: 14, Pete Maravich, third quarter, Atlanta Hawks vs. Buffalo Braves,
Broken by Vince Carter on
Free throw attempts, quarter: 16, Pete Maravich, second quarter, Atlanta Hawks at Chicago Bulls,
Broken by Ben Wallace on
Second pair of teammates in NBA history to score 2,000 or more points in a season: 2, Atlanta Hawks ()
Maravich: 2,063
Lou Hudson: 2,029
Third pair of teammates in NBA history to score 40 or more points in the same game: New Orleans Jazz vs. Denver Nuggets,
Maravich: 45
Nate Williams: 41
David Thompson of the Denver Nuggets also scored 40 points in this game.
Ranks 4th in NBA history – Free throws made, none missed, game: 18–18, Pete Maravich, Atlanta Hawks vs. Buffalo Braves,
Ranks 5th in NBA history – Free throws made, game: 23, Pete Maravich, New Orleans Jazz vs. New York Knicks, (2 OT)
See also
List of individual National Basketball Association scoring leaders by season
List of National Basketball Association players with most points in a game
List of NCAA Division I men's basketball players with 60 or more points in a game
List of NCAA Division I men's basketball season scoring leaders
List of NCAA Division I men's basketball career scoring leaders
List of NCAA Division I men's basketball career free throw scoring leaders
List of National Basketball Association annual minutes leaders
Further reading
Campbell, Darrel (2019). Hero & Friend: My Days with Pistol Pete. Percussion Films. .
Brown, Danny (2008). Shooting the Pistol: Courtside Photographs of Pete Maravich at LSU. Louisiana State University Press
References
External links
NBA Historical Bio
ESPN bio
Pete Maravich's Greatest Achievement
‘68 All College MVP - 4 Days with Pistol Pete
Pete Maravich Bio LSU Tigers Athletics
1947 births
1988 deaths
All-American college men's basketball players
American evangelicals
American men's basketball players
American people of Serbian descent
Atlanta Hawks draft picks
Atlanta Hawks players
Basketball players from Pennsylvania
Boston Celtics players
College basketball announcers in the United States
LSU Tigers 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
Needham B. Broughton High School alumni
New Orleans Jazz players
Parade High School All-Americans (boys' basketball)
People from Aliquippa, Pennsylvania
Shooting guards
Sportspeople from the Pittsburgh metropolitan area
Basketball players from Raleigh, North Carolina
Utah Jazz players
| false |
[
"Peter Press Maravich (; June 22, 1947 – January 5, 1988), known by his nickname Pistol Pete, was an American professional basketball player. Maravich was born in Aliquippa, Pennsylvania, part of the Pittsburgh metropolitan area, and raised in the Carolinas. Maravich starred in college with the LSU Tigers while playing for his father, head coach Press Maravich. He is the all-time leading NCAA Division I scorer with 3,667 points scored and an average of 44.2 points per game. All of his accomplishments were achieved before the adoption of the three-point line and shot clock, and despite being unable to play varsity as a freshman under then-NCAA rules. He played for three National Basketball Association (NBA) teams until injuries forced his retirement in 1980 following a 10-year professional career. \n\nOne of the youngest players ever inducted into the Naismith Memorial Basketball Hall of Fame, Maravich was considered to be one of the greatest creative offensive talents ever and one of the best ball handlers of all time. He died suddenly at age 40 during a pick-up game in 1988 as a consequence of an undetected heart defect.\n\nEarly life\nMaravich was born to Peter \"Press\" Maravich (1915–1987) and Helen Gravor Maravich (1925–1974) in Aliquippa, a steel town in Beaver County in western Pennsylvania, near Pittsburgh. Maravich amazed his family and friends with his basketball abilities from an early age. He enjoyed a close but demanding father-son relationship that motivated him toward achievement and fame in the sport. Maravich's father was the son of Serbian immigrants and a professional player–turned-coach. He showed him the fundamentals starting when he was seven years old. Obsessively, Maravich spent hours practicing ball control tricks, passes, head fakes, and long-range shots.\n\nMaravich played high school varsity ball at Daniel High School in Central, South Carolina, a year before being old enough to attend the school. While at Daniel from 1961 to 1963, Maravich participated in the school's first-ever game against a team from an all-black school. In 1963 his father departed from his position as head basketball coach at Clemson University and joined the coaching staff at North Carolina State University. The Maravich family's subsequent move to Raleigh, North Carolina, allowed Maravich to attend Needham B. Broughton High School. His high school years also saw the birth of his famous moniker. From his habit of shooting the ball from his side, as if holding a revolver, Maravich became known as \"Pistol\" Pete Maravich. He graduated from Needham B. Broughton High School in 1965 and then attended Edwards Military Institute, where he averaged 33 points per game. Maravich never liked school and did not like Edwards Military Institute. It was known that Press Maravich was extremely protective of Maravich and would guard against any issue that might come up during his adolescence. Press threatened to shoot Maravich with a 45 caliber pistol if he drank or got into trouble. Maravich was 6 feet 4 inches in high school and was getting ready to play in college when his father took a coaching position at Louisiana State University.\n\nCollege career\nAt that time NCAA rules prohibited first-year students from playing at varsity level, which forced Maravich to play on the freshman team. In his first game, Maravich put up 50 points, 14 rebounds and 11 assists against Southeastern Louisiana College.\n\nIn only three years playing on the varsity team (and under his father's coaching) at LSU, Maravich scored 3,667 points—1,138 of those in 1967–68, 1,148 in 1968–69, and 1,381 in 1969–70—while averaging 43.8, 44.2, and 44.5 points per game, respectively. For his collegiate career, the 6'5\" (1.96 m) guard averaged 44.2 points per game in 83 contests and led the NCAA in scoring for each of his three seasons.\n\nMaravich's long-standing collegiate scoring record is particularly notable when three factors are taken into account:\nFirst, because of the NCAA rules that prohibited him from taking part in varsity competition during his first year as a student, Maravich was prevented from adding to his career record for a full quarter of his time at LSU. During this first year, Maravich scored 741 points in freshman competition.\nSecond, Maravich played before the advent of the three-point line. This significant difference has raised speculation regarding just how much higher his records would be, given his long-range shooting ability and how such a component might have altered his play. Writing for ESPN.com, Bob Carter stated, \"Though Maravich played before [...] the 3-point shot was established, he loved gunning from long range.\" It has been reported that former LSU coach Dale Brown charted every shot Maravich scored and concluded that, if his shots from three-point range had been counted as three points, Maravich's average would have totaled 57 points per game. And 12 Three Pointer per game.\nThird, the shot clock had also not yet been instituted in NCAA play during Maravich's college career. (A time limit on ball possession speeds up play, mandates an additional number of field goal attempts, eliminates stalling, and increases the number of possessions throughout the game, all resulting in higher overall scoring.)\n\nMore than 50 years later, however, many of his NCAA and LSU records still stand. Maravich was a three-time All-American. Though he never appeared in the NCAA tournament, Maravich played a key role in turning around a lackluster program that had posted a 3–20 record in the season prior to his arrival. Maravich finished his college career in the 1970 National Invitation Tournament, where LSU finished fourth.\n\nNCAA career statistics\n\nFreshman\nAt this time, freshmen did not play on the varsity team and these stats do not count in the NCAA record books.\n\n|-\n| style=\"text-align:left;\"| 1966–67\n| style=\"text-align:left;\"| Louisiana State\n| 19 || 19 || ... || .452 || ... || .833 || 10.4 || ... || ... || ... || 43.6\n\nVarsity\n\n|-\n| style=\"text-align:left;\"| 1967–68\n| style=\"text-align:left;\"| Louisiana State\n| 26 || 26 || ... || .423 || ... || .811 || 7.5 || 4.0 || ... || ... || 43.8\n|-\n| style=\"text-align:left;\"| 1968–69\n| style=\"text-align:left;\"| Louisiana State\n| 26 || 26 || ... || .444 || ... || .746 || 6.5 || 4.9 || ... || ... || 44.2\n|-\n| style=\"text-align:left;\"| 1969–70\n| style=\"text-align:left;\"| Louisiana State\n| 31 || 31 || ... || .447 || ... || .773 || 5.3 || 6.2 || ... || ... || 44.5\n|-\n| style=\"text-align:left;\" colspan=2|Career\n| 83 || 83 || ... || .438 || ... || .775 || 6.5 || 5.1 || ... || ... || 44.2\n\nProfessional career\n\nAtlanta Hawks\n\nThe Atlanta Hawks selected Maravich with the third pick in the first round of the 1970 NBA draft, where he played for coach Richie Guerin. He was not a natural fit in Atlanta, as the Hawks already boasted a top-notch scorer at the guard position in Lou Hudson. In fact, Maravich's flamboyant style stood in stark contrast to the conservative play of Hudson and star center Walt Bellamy. And it did not help that many of the veteran players resented the $1.9 million contract that Maravich received from the team—a very large salary at that time.\n\nMaravich appeared in 81 games and averaged 23.2 points per contest—good enough to earn NBA All-Rookie Team honors. And he managed to blend his style with his teammates, so much so that Hudson set a career high by scoring 26.8 points per game. But the team stumbled to a 36–46 record—12 wins fewer than in the previous season. Still, the Hawks qualified for the playoffs, where they lost to the New York Knicks in the first round.\n\nMaravich struggled somewhat during his second season. His scoring average dipped to 19.3 points per game, and the Hawks finished with another disappointing 36–46 record. Once again they qualified for the playoffs, and once again they were eliminated in the first round. However, Atlanta fought hard against the Boston Celtics, with Maravich averaging 27.7 points in the series.\n\nMaravich erupted in his third season, averaging 26.1 points (5th in the NBA) and dishing out 6.9 assists per game (6th in the NBA). With 2,063 points, he combined with Hudson (2,029 points) to become only the second set of teammates in league history to each score over 2,000 points in a single season. The Hawks soared to a 46–36 record, but again bowed out in the first round of the playoffs. However, the season was good enough to earn Maravich his first-ever appearance in the NBA All-Star Game, and also All-NBA Second Team honors.\n\nThe following season (1973–74) was his best yet—at least in terms of individual accomplishments. Maravich posted 27.7 points per game—second in the league behind Bob McAdoo—and earned his second appearance in the All-Star Game. However, Atlanta sank to a disappointing 35–47 record and missed the postseason entirely.\n\nNew Orleans Jazz\nIn the summer of 1974, an expansion franchise was preparing for its first season of competition in the NBA. The New Orleans Jazz were looking for something or someone to generate excitement among their new basketball fans. With his exciting style of play, Maravich was seen as the perfect man for the job. Additionally, he was already a celebrity in the state due to his accomplishments at LSU. To acquire Maravich, the Jazz traded two players and four draft picks to Atlanta.\n\nThe expansion team struggled mightily in its first season. Maravich managed to score 21.5 points per game, but shot a career-worst 41.9 percent from the floor. The Jazz posted a 23–59 record, worst in the NBA.\n\nJazz management did its best to give Maravich a better supporting cast. The team posted a 38–44 record in its second season (1975–76) but did not qualify for postseason play, despite the dramatic improvement. Maravich struggled with injuries that limited him to just 62 games that season, but he averaged 25.9 points per contest (third behind McAdoo and Kareem Abdul-Jabbar) and continued his crowd-pleasing antics. He was elected to the All-NBA First Team that year.\n\nThe following season (1976–77) was his most productive in the NBA. He led the league in scoring with an average of 31.1 points per game. He scored 40 points or more in 13 games, and 50 or more in 4 games. His 68-point masterpiece against the Knicks was at the time the most points ever scored by a guard in a single game, and only two players at any position had ever scored more: Wilt Chamberlain and Elgin Baylor. Baylor was head coach of the Jazz at that time.\n\nMaravich earned his third all-star game appearance and was honored as All-NBA First Team for the second consecutive season.\n\nThe following season, injuries to both knees forced him to miss 32 games during the 1977–78 season. Despite being robbed of some quickness and athleticism, he still managed to score 27.0 points per game, and he also added 6.7 assists per contest, his highest average as a member of the Jazz. Many of those assists went to new teammate Truck Robinson, who had joined the franchise as a free agent during the off-season. In his first year in New Orleans, he averaged 22.7 points and a league-best 15.7 rebounds per game. His presence prevented opponents from focusing their defensive efforts entirely on Maravich, and it lifted the Jazz to a 39–43 record—just short of making the club's first-ever appearance in the playoffs.\n\nKnee problems plagued Maravich for the rest of his career. He played in just 49 games during the 1978–79 season. He scored 22.6 points per game that season and earned his fifth and final All-Star appearance. But his scoring and passing abilities were severely impaired. The team struggled on the court, and faced serious financial trouble as well. Management became desperate to make some changes. The Jazz traded Robinson to the Phoenix Suns, receiving draft picks and some cash in return. However, in 1979, team owner Sam Battistone moved the Jazz to Salt Lake City.\n\nFinal season\nThe Utah Jazz began play in the 1979–80 season. Maravich moved with the team to Salt Lake City, but his knee problems were worse than ever. He appeared in 17 games early in the season, but his injuries prevented him from practicing much, and new coach Tom Nissalke had a strict rule that players who didn't practice were not allowed to play in games. Thus, Maravich was parked on the bench for 24 straight games, much to the dismay of Utah fans and to Maravich himself. During that time, Adrian Dantley emerged as the team's franchise player.\n\nThe Jazz placed Maravich on waivers in January 1980. He signed with the Celtics, the top team in the league that year, led by rookie superstar Larry Bird. Maravich adjusted to a new role as part-time contributor, giving Boston a \"hired gun\" off the bench. He helped the team post a 61–21 record in the regular season, best in the league. And, for the first time since his early career in Atlanta, Maravich was able to participate in the NBA playoffs. He appeared in nine games during that postseason, but the Celtics were upended by Julius Erving and the Philadelphia 76ers in the Eastern Conference finals, four games to one.\n\nRealizing that his knee problems would never go away, Maravich retired at the end of that season. The NBA instituted the 3-point shot just in time for Maravich's last season in the league. He had always been famous for his long-range shooting, and his final year provided an official statistical gauge of his abilities. Between his limited playing time in Utah and Boston, he made 10 of 15 3-point shots, giving him a career 66.7% completion rate behind the arc.\n\nDuring his ten-year career in the NBA, Maravich played in 658 games, averaging 24.2 points and 5.4 assists per contest. In 1987, he was inducted into the Naismith Memorial Basketball Hall of Fame, and his No. 7 jersey has been retired by both the Jazz and the New Orleans Pelicans, as well as his No. 44 jersey by the Atlanta Hawks.\n\nNBA career statistics\n\nRegular season\n\n|-\n| style=\"text-align:left;\"| 1970–71\n| style=\"text-align:left;\"| Atlanta\n| 81 || ... || 36.1 || .458 || ... || .800 || 3.7 || 4.4 || ... || ... || 23.2\n|-\n| style=\"text-align:left;\"| 1971–72\n| style=\"text-align:left;\"| Atlanta\n| 66 || ... || 34.9 || .427 || ... || .811 || 3.9 || 6.0 || ... || ... || 19.3\n|-\n| style=\"text-align:left;\"| 1972–73\n| style=\"text-align:left;\"| Atlanta\n| 79 || ... || 39.1 || .441 || ... || .800 || 4.4 || 6.9 || ... || ... || 26.1\n|-\n| style=\"text-align:left;\"| 1973–74\n| style=\"text-align:left;\"| Atlanta\n| 76 || ... || 38.2 || .457 || ... || .826 || 4.9 || 5.2 || 1.5 || .2 || 27.7\n|-\n| style=\"text-align:left;\"| 1974–75\n| style=\"text-align:left;\"| New Orleans\n| 79 || ... || 36.1 || .419 || ... || .811 || 5.3 || 6.2 || 1.5 || .2 || 21.5\n|-\n| style=\"text-align:left;\"| 1975–76\n| style=\"text-align:left;\"| New Orleans\n| 62 || ... || 38.3 || .459|| ... || .811 || 4.8 || 5.4 || 1.4 || .4 || 25.9\n|-\n| style=\"text-align:left;\"| 1976–77\n| style=\"text-align:left;\"| New Orleans\n| 73 || ... || 41.7 || .433 || ... || .835 || 5.1 || 5.4 || 1.2 || .3 ||style=\"background:#cfecec;\"| 31.1*\n|-\n| style=\"text-align:left;\"| 1977–78\n| style=\"text-align:left;\"| New Orleans\n| 50 || ... || 40.8 || .444 || ... || .870 || 3.6 || 6.7 || 2.0 || .2 || 27.0\n|-\n| style=\"text-align:left;\"| 1978–79\n| style=\"text-align:left;\"| New Orleans\n| 49 || ... || 37.2 || .421 || ... || .841 || 2.5 || 5.0 || 1.2 || .4 || 22.6\n|-\n| style=\"text-align:left;\"| 1979–80\n| style=\"text-align:left;\"| Utah\n| 17 || ... || 30.7 || .412 || .636 || .820 || 2.4 || 3.2 || .9 || .2 || 17.1\n|-\n| style=\"text-align:left;\"| 1979–80\n| style=\"text-align:left;\"| Boston\n| 26 || 4 || 17.0 || .494 || .750 ||.909 || 1.5 || 1.1 || .3 || .1 || 11.5\n|- class=\"sortbottom\"\n| style=\"text-align:center;\" colspan=\"2\"| Career\n| 658 || ... || 37.0 || .441 || .667 || .820 || 4.2 || 5.4 || 1.4 || .3 || 24.2\n|- class=\"sortbottom\"\n| style=\"text-align:center;\" colspan=\"2\"| All-Star\n| 4 || 4 || 19.8 || .409 || ... || .778 || 2.0 || 3.8 || 1.0 || 0.0 || 10.8\n\nPlayoffs\n\n|-\n| style=\"text-align:left;\"| 1971\n| style=\"text-align:left;\"| Atlanta\n| 5 || ... || 39.8 || .377 || ... || .692 || 5.2 || 4.8 || ... || ... || 22.0\n|-\n| style=\"text-align:left;\"| 1972\n| style=\"text-align:left;\"| Atlanta\n| 6 || ... || 36.5 || .446 || ... || .817 || 5.3 || 4.7 || ... || ... || 27.7\n|-\n| style=\"text-align:left;\"| 1973\n| style=\"text-align:left;\"| Atlanta\n| 6 || ... || 39.0 || .419 || ... || .794 || 4.8 || 6.7 || ... || ... || 26.2\n|-\n| style=\"text-align:left;\"| 1980\n| style=\"text-align:left;\"| Boston\n| 9 || ... || 11.6 || .490 || .333 || .667 || .9 || .7 || .3 || .0 || 6.0\n|-\n| style=\"text-align:center;\" colspan=2|Career\n| 26 || ... || 29.1 || .423 || .333 || .784 || 3.6 || 3.8 || ... || ... || 18.7\n|-\n\nLater life and death\nAfter injuries forced his retirement from the game in the fall of 1980, Maravich became a recluse for two years. Through it all, Maravich said he was searching \"for life\". He tried the practices of yoga and Hinduism, read Trappist monk Thomas Merton's The Seven Storey Mountain and took an interest in the field of ufology, the study of unidentified flying objects. He also explored vegetarianism and macrobiotics, adopting a vegetarian diet in 1982. Eventually, he became a born-again Christian, embracing evangelical Christianity. A few years before his death, Maravich said, \"I want to be remembered as a Christian, a person that serves Him [Jesus] to the utmost, not as a basketball player.\"\n\nOn January 5, 1988, Maravich collapsed and died of heart failure at age 40 while playing in a pickup basketball game in the gym at First Church of the Nazarene in Pasadena, California, with a group that included evangelical author James Dobson. Maravich had flown out from his home in Louisiana to tape a segment for Dobson's radio show that aired later that day. Dobson has said that Maravich's last words, less than a minute before he died, were \"I feel great.\" An autopsy revealed the cause of death to be a rare congenital defect; he had been born with a missing left coronary artery, a vessel that supplies blood to the muscle fibers of the heart. His right coronary artery was grossly enlarged and had been compensating for the defect. \n\nMaravich died the year after his father's passing and a number of years after his mother, who had died of suicide with a self-inflicted gunshot. Maravich is buried at Resthaven Gardens of Memory and Mausoleum in Baton Rouge, Louisiana.\n\nLegacy\nMaravich was survived by his wife Jackie and his sons Jaeson, who was 8 years old at the time of his death, and Josh, aged 5. Only the previous year, Maravich had taken Jaeson to the 1987 NBA All-Star Game in Seattle, Washington, and introduced him to Michael Jordan.\n\nSince Maravich's children were very young when he died, Jackie Maravich initially shielded them from unwanted media attention, not even allowing Jaeson and Josh to attend their father's funeral. However, a proclivity to basketball seemed to be an inherited trait. During a 2003 interview, Jaeson told USA Today that, when he was still only a toddler, \"My dad passed me a (Nerf) basketball, and I've been hooked ever since ... My dad said I shot and missed, and I got mad and I kept shooting. He said his dad told him he did the same thing.\"\n\nDespite some setbacks coping with their father's death and without the benefit that his tutelage might have provided, both sons eventually were inspired to play high school and collegiate basketball—Josh at his father's alma mater, LSU.\n\nOn June 27, 2014, Governor Bobby Jindal proposed that LSU erect a statue of Maravich outside the Assembly Center, which already bore the basketball star's name. Former coach Dale Brown opposed such a monument, but Maravich's widow, Jackie McLachlan, said that she had been promised a statue after the passing of her husband. McLachlan said that she has noticed how fans struggle to get the Maravich name on the Assembly Center into a camera frame.\n\nIn February 2016, the LSU Athletic Hall of Fame Committee unanimously approved a proposal that a statue honoring Maravich be installed on the campus.\n\nA street in Belgrade, Serbia, is named after Pete Maravich.\n\nMemorabilia\nMaravich's untimely death and mystique have made memorabilia associated with him among the most highly prized of any basketball collectibles. Game-used Maravich jerseys bring more money at auction than similar items from anybody other than George Mikan, with the most common items selling for $10,000 and up and a game-used LSU jersey selling for $94,300 in a 2001 Grey Flannel auction. The signed game ball from his career-high 68-point night on February 25, 1977, sold for $131,450 in a 2009 Heritage auction.\n\nHonors, books, films and music\nIn 1987, roughly a year before his death, Maravich co-authored an award-winning (Gold Medallion) autobiography with Darrel Campbell titled Heir to a Dream that devoted much focus to his life after retirement from basketball and his later devotion to Christianity. \nIn 1987, Maravich and Darrel Campbell produced the four-episode basketball instructional video series Pistol Pete's Homework Basketball. \nIn 1988, Frank Schroeder and Darrel Campbell produced the documentary based on Pete Maravich's college career titled, Maravich Memories: The LSU Years. \nAfter Maravich's death, Louisiana Governor Buddy Roemer signed a proclamation officially renaming the LSU home court the Pete Maravich Assembly Center.\nIn 1991, a biographical film written and produced by Darrel Campbell dramatizing his 8th-grade season entitled The Pistol: The Birth of a Legend was released.\nIn 1996, he was named one of the 50 Greatest Players in NBA History by a panel made up of NBA historians, players, and coaches. He was the only deceased player on the list. At the 1997 All-Star Game in Cleveland, he was represented by his two sons at halftime.\nIn 2001, a comprehensive 90-minute documentary film debuted on CBS entitled Pistol Pete: The Life and Times of Pete Maravich.\nIn 2005, ESPNU named Maravich the greatest college basketball player of all time.\nIn 2007, two biographies of Maravich were released: Maravich by Wayne Federman and Marshall Terrill and Pistol by Mark Kriegel. Also in 2007, to promote Mark Kriegel's book \"Pistol\", Fox Sports conducted a contest to find \"Pete Maravich's Biggest Fan\". The winner was Scott Pollack of Sunrise, FL.\nIn 2021, he was named one of the members of the NBA 75th Anniversary Team by a panel made up of NBA historians, players and coaches. He was one of the deceased players on the list.\nIn 1970, during his LSU days, Acapulco Music/The Panama Limited released \"The Ballad of Pete Maravich by Bob Tinney and Woody Jenkins. \n The Ziggens, a band from Southern California, wrote a song about Maravich entitled \"Pistol Pete\".\n\nCollegiate awards\n The Sporting News College Player of the Year (1970)\n USBWA College Player of the Year (1969, 1970)\n Naismith Award Winner (1970)\n Helms Foundation Player of the Year (1970)\n UPI Player of the Year (1970)\n Sporting News Player of the Year (1970)\n AP College Player of the Year (1970)\n The Sporting News All-America First Team (1968, 1969, 1970)\n Three-time AP and UPI First-Team All-America (1968, 1969, 1970)\n Led the NCAA Division I in scoring with 43.8 ppg (1968); 44.2 (1969) and 44.5 ppg (1970)\n Averaged 43.6 ppg on the LSU freshman team (1967)\n Scored a career-high 69 points vs. Alabama (); 66 vs. Tulane (); 64 vs. Kentucky (); 61 vs. Vanderbilt ()\n Holds LSU records for most field goals made (26) and attempted (57) in a game against Vanderbilt on \n All-Southeastern Conference (1968, 1969, 1970)\n #23 Jersey retired by LSU (2007)\n In 1970, Maravich led LSU to a 20–8 record and a fourth-place finish in the National Invitation Tournament\n\nCollegiate records\n Points, career: 3,667 (three seasons)\n Highest scoring average, points per game, career: 44.2 (3,667 points/83 games)\n Points, season: 1,381 (1970)\n Highest scoring average, points per game, season: 44.5 (1,381/31) (1970)\n Games scoring 50 or more points, career: 28\n Games scoring 50 or more points, season: 10 (1970)\n Field goals made, career: 1,387\n Field goals made, season: 522 (1970)\n Field goal attempts, career: 3,166\n Field goal attempts, season: 1,168 (1970)\n Free throws made, game: 30 (in 31 attempts), vs. Oregon State, \nTied by Ben Woodside, North Dakota State, on\n\nNBA awards\n\nNBA All-Rookie Team\nAll-NBA First Team (1976, 1977)\nAll-NBA Second Team (1973, 1978)\nFive-time NBA All-Star (1973, 1974, 1977, 1978, 1979)\nLed the league in scoring (31.1 ppg) in 1977, his career best\nScored a career-high 68 points against the New York Knicks on February 25, 1977\n#7 jersey retired by the Utah Jazz (1985)\n#7 jersey retired by the Superdome (1988)\nNBA 50th Anniversary All-Time Team (1996)\n NBA 75th Anniversary Team (2021)\n#7 jersey retired by the New Orleans Hornets (now Pelicans) (2002), even though he never played for them—one of only four players to have a number retired by a team they did not play for; Maravich did play professionally for the New Orleans Jazz, however, and has remained a greatly admired figure amongst New Orleans sports fans ever since.\n#44 jersey retired by the Atlanta Hawks (2017)\n\nNBA records\nFree throws made, quarter: 14, Pete Maravich, third quarter, Atlanta Hawks vs. Buffalo Braves, \nBroken by Vince Carter on \n\nFree throw attempts, quarter: 16, Pete Maravich, second quarter, Atlanta Hawks at Chicago Bulls, \nBroken by Ben Wallace on \n\nSecond pair of teammates in NBA history to score 2,000 or more points in a season: 2, Atlanta Hawks () \nMaravich: 2,063 \nLou Hudson: 2,029\n\nThird pair of teammates in NBA history to score 40 or more points in the same game: New Orleans Jazz vs. Denver Nuggets, \nMaravich: 45 \nNate Williams: 41 \nDavid Thompson of the Denver Nuggets also scored 40 points in this game.\n\nRanks 4th in NBA history – Free throws made, none missed, game: 18–18, Pete Maravich, Atlanta Hawks vs. Buffalo Braves, \n\nRanks 5th in NBA history – Free throws made, game: 23, Pete Maravich, New Orleans Jazz vs. New York Knicks, (2 OT)\n\nSee also\nList of individual National Basketball Association scoring leaders by season\nList of National Basketball Association players with most points in a game\nList of NCAA Division I men's basketball players with 60 or more points in a game\nList of NCAA Division I men's basketball season scoring leaders\nList of NCAA Division I men's basketball career scoring leaders\nList of NCAA Division I men's basketball career free throw scoring leaders\nList of National Basketball Association annual minutes leaders\n\nFurther reading\n\n Campbell, Darrel (2019). Hero & Friend: My Days with Pistol Pete. Percussion Films. .\n\nBrown, Danny (2008). Shooting the Pistol: Courtside Photographs of Pete Maravich at LSU. Louisiana State University Press\n\nReferences\n\nExternal links\n\nNBA Historical Bio\nESPN bio\n\nPete Maravich's Greatest Achievement\n‘68 All College MVP - 4 Days with Pistol Pete\n\nPete Maravich Bio LSU Tigers Athletics\n\n1947 births\n1988 deaths\nAll-American college men's basketball players\nAmerican evangelicals\nAmerican men's basketball players\nAmerican people of Serbian descent\nAtlanta Hawks draft picks\nAtlanta Hawks players\nBasketball players from Pennsylvania\nBoston Celtics players\nCollege basketball announcers in the United States\nLSU Tigers basketball players\nNaismith Memorial Basketball Hall of Fame inductees\nNational Basketball Association All-Stars\nNational Basketball Association broadcasters\nNational Basketball Association players with retired numbers\nNeedham B. Broughton High School alumni\nNew Orleans Jazz players\nParade High School All-Americans (boys' basketball)\nPeople from Aliquippa, Pennsylvania\nShooting guards\nSportspeople from the Pittsburgh metropolitan area\nBasketball players from Raleigh, North Carolina\nUtah Jazz players",
"Petar \"Press\" Maravich (August 29, 1915 – April 15, 1987) was an American college and professional basketball coach. He received the nickname \"Press\" as a boy, when one of his jobs was selling the Pittsburgh Press on the streets of his hometown of Aliquippa, Pennsylvania, an industrial city outside of Pittsburgh. Maravich, Sr. also served in the United States Naval Air Corps during World War II.\n\nMaravich graduated from Davis & Elkins College in 1941 and was a member of the Alpha Sigma Phi fraternity. He was the father of basketball player Pete Maravich.\n\nPlaying and coaching career\nMaravich was the son of Serb immigrants Vajo and Sara (née Radulović) from Drežnica, a village near Ogulin in modern-day Croatia. After college, he played professional basketball with the Youngstown Bears (1945–1946) of the National Basketball League, and the Pittsburgh Ironmen (1946–1947) of the Basketball Association of America.\n\nPress Maravich's first head coaching job at the college level was West Virginia Wesleyan College, 1949–1950. From there he went on to become head coach of his alma mater, Davis & Elkins, from 1950 to 1952. He had previously served as an assistant under Red Brown from 1947 to 1949.\n\nMaravich was head coach of the Tigers of Clemson University from 1956 to 1962. He then went to North Carolina State University to be an assistant coach under Everett Case. Maravich took over the head coaching duties when health problems, primarily cancer, forced Case to retire early in the 1964–1965 season. Maravich led the Wolfpack to the Atlantic Coast Conference title that season. Maravich left for Louisiana State University in April 1966 where he coached his son, Pete Maravich. Upon offering the LSU scholarship to \"Pistol\", \"Press\" told his boy that \"If you don't sign this ... don't ever come into my house again.\"{Pistol: The Life of Pete Maravich}. Pete originally wanted to go to the West Virginia University but finally agreed to go to LSU if his dad bought him a car. (Pistol: The Life of Pete Maravich.) In spite of coaching his prolific son for half of his coaching career at LSU, Maravich had an overall losing record at the school. Maravich was replaced at LSU by Dale Brown in 1972. He then went on to coach the Mountaineers of Appalachian State, shepherding them through their early years in Division I, before retiring from coaching in 1975. Maravich returned to coaching in the early 1980s as associate head coach at Campbell University.\n\nDeath\nIn the spring of 1985, Maravich was diagnosed with prostate cancer. During a basketball clinic in Israel, signs of his condition appeared when he had begun to urinate blood. Press eventually was persuaded to receive proper treatment for his condition at Memorial Sloan-Kettering Cancer Center in New York, but he canceled before being admitted. On February 11, 1987, Press and son Pete flew to Hanover, Germany, for an experimental treatment that lasted for 11 days; symptoms such as coughing subsided while the treatment had no effect on the cancer. Through the next two months, Press's condition deteriorated while Pete took constant care of him with his sister, Diana. Press Maravich lived his last days in Highland Park Hospital in Covington, Louisiana, where he died on April 15, 1987. \"Press\" Maravich lived just long enough to see Pete selected as a possible member of the Naismith Memorial Basketball Hall of Fame, but not long enough to see him officially inducted in May 1987. Pete Maravich is quoted as saying \"I'll see you soon\" to his father immediately after his death; Pete Maravich died nine months later on January 5, 1988. Both \"Press\" and his son became born-again Christians late in their lives.\n\nBAA career statistics\n\nRegular season\n\nHead coaching record\n\nCollege\n\nFurther reading\n\nReferences\n\nExternal links\n\n1915 births\n1987 deaths\nAmerican men's basketball coaches\nAmerican men's basketball players\nAmerican people of Serbian descent\nAppalachian State Mountaineers men's basketball coaches\nBasketball coaches from Pennsylvania\nBasketball players from Pennsylvania\nClemson Tigers men's basketball coaches\nCollege men's basketball head coaches in the United States\nDavis & Elkins Senators men's basketball coaches\nDavis & Elkins Senators men's basketball players\nDeaths from cancer in Louisiana\nDeaths from prostate cancer\nDetroit Eagles players\nHigh school basketball coaches in the United States\nLSU Tigers basketball coaches\nNC State Wolfpack men's basketball coaches\nPeople from Aliquippa, Pennsylvania\nPittsburgh Ironmen players\nSportspeople from the Pittsburgh metropolitan area\nUnited States Naval Aviators\nWest Virginia Wesleyan Bobcats basketball coaches\nYoungstown Bears players\nGuards (basketball)\nMilitary personnel from Pennsylvania"
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[
"Pete Maravich",
"Legacy",
"What was Maravich's legacy?",
"Maravich was survived by his wife Jackie and his two sons Jaeson, who was 8 years old, and Josh, aged 5.",
"Was his family with him at the time of his death?",
"I don't know.",
"Was Maravich involved with any type of charity organizations?",
"I don't know."
] |
C_944020ab787349289f7fba127ae6bd15_0
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What do you find significant about Maravich's legacy?
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What do you find significant about Pete Maravich's legacy?
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Pete Maravich
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Maravich was survived by his wife Jackie and his two sons Jaeson, who was 8 years old, and Josh, aged 5. Only the previous year, Maravich had taken Jaeson to the 1987 NBA All-Star Game in Seattle, Washington, and introduced him to Michael Jordan. Since Maravich's children were very young when he died, Jackie Maravich initially shielded them from unwanted media attention, not even allowing Jaeson and Josh to attend their father's funeral. However, a proclivity to basketball seemed to be an inherited trait. During a 2003 interview, Jaeson told USA Today that, when he was still only a toddler, "My dad passed me a (Nerf) basketball, and I've been hooked ever since... . My dad said I shot and missed, and I got mad and I kept shooting. He said his dad told him he did the same thing." Despite some setbacks coping with their father's death and without the benefit that his tutelage might have provided, both sons eventually were inspired to play high school and collegiate basketball--Josh at his father's alma mater, LSU. On June 27, 2014, Governor Bobby Jindal proposed that LSU erect a statue of Maravich outside the Assembly Center which already bears the basketball star's name. Former coach Dale Brown opposes such a monument, but Maravich's widow, Jackie McLachlan, said that she had been promised a statue after the passing of her husband. McLachlan said that she has noticed how fans struggle to get the Maravich name on the Assembly Center into a camera frame. In February 2016, the LSU Athletic Hall of Fame Committee unanimously approved a proposal that a statue honoring Maravich be installed on the campus. CANNOTANSWER
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both sons eventually were inspired to play high school and collegiate basketball--Josh at his father's alma mater, LSU.
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Peter Press Maravich (; June 22, 1947 – January 5, 1988), known by his nickname Pistol Pete, was an American professional basketball player. Maravich was born in Aliquippa, Pennsylvania, part of the Pittsburgh metropolitan area, and raised in the Carolinas. Maravich starred in college with the LSU Tigers while playing for his father, head coach Press Maravich. He is the all-time leading NCAA Division I scorer with 3,667 points scored and an average of 44.2 points per game. All of his accomplishments were achieved before the adoption of the three-point line and shot clock, and despite being unable to play varsity as a freshman under then-NCAA rules. He played for three National Basketball Association (NBA) teams until injuries forced his retirement in 1980 following a 10-year professional career.
One of the youngest players ever inducted into the Naismith Memorial Basketball Hall of Fame, Maravich was considered to be one of the greatest creative offensive talents ever and one of the best ball handlers of all time. He died suddenly at age 40 during a pick-up game in 1988 as a consequence of an undetected heart defect.
Early life
Maravich was born to Peter "Press" Maravich (1915–1987) and Helen Gravor Maravich (1925–1974) in Aliquippa, a steel town in Beaver County in western Pennsylvania, near Pittsburgh. Maravich amazed his family and friends with his basketball abilities from an early age. He enjoyed a close but demanding father-son relationship that motivated him toward achievement and fame in the sport. Maravich's father was the son of Serbian immigrants and a professional player–turned-coach. He showed him the fundamentals starting when he was seven years old. Obsessively, Maravich spent hours practicing ball control tricks, passes, head fakes, and long-range shots.
Maravich played high school varsity ball at Daniel High School in Central, South Carolina, a year before being old enough to attend the school. While at Daniel from 1961 to 1963, Maravich participated in the school's first-ever game against a team from an all-black school. In 1963 his father departed from his position as head basketball coach at Clemson University and joined the coaching staff at North Carolina State University. The Maravich family's subsequent move to Raleigh, North Carolina, allowed Maravich to attend Needham B. Broughton High School. His high school years also saw the birth of his famous moniker. From his habit of shooting the ball from his side, as if holding a revolver, Maravich became known as "Pistol" Pete Maravich. He graduated from Needham B. Broughton High School in 1965 and then attended Edwards Military Institute, where he averaged 33 points per game. Maravich never liked school and did not like Edwards Military Institute. It was known that Press Maravich was extremely protective of Maravich and would guard against any issue that might come up during his adolescence. Press threatened to shoot Maravich with a 45 caliber pistol if he drank or got into trouble. Maravich was 6 feet 4 inches in high school and was getting ready to play in college when his father took a coaching position at Louisiana State University.
College career
At that time NCAA rules prohibited first-year students from playing at varsity level, which forced Maravich to play on the freshman team. In his first game, Maravich put up 50 points, 14 rebounds and 11 assists against Southeastern Louisiana College.
In only three years playing on the varsity team (and under his father's coaching) at LSU, Maravich scored 3,667 points—1,138 of those in 1967–68, 1,148 in 1968–69, and 1,381 in 1969–70—while averaging 43.8, 44.2, and 44.5 points per game, respectively. For his collegiate career, the 6'5" (1.96 m) guard averaged 44.2 points per game in 83 contests and led the NCAA in scoring for each of his three seasons.
Maravich's long-standing collegiate scoring record is particularly notable when three factors are taken into account:
First, because of the NCAA rules that prohibited him from taking part in varsity competition during his first year as a student, Maravich was prevented from adding to his career record for a full quarter of his time at LSU. During this first year, Maravich scored 741 points in freshman competition.
Second, Maravich played before the advent of the three-point line. This significant difference has raised speculation regarding just how much higher his records would be, given his long-range shooting ability and how such a component might have altered his play. Writing for ESPN.com, Bob Carter stated, "Though Maravich played before [...] the 3-point shot was established, he loved gunning from long range." It has been reported that former LSU coach Dale Brown charted every shot Maravich scored and concluded that, if his shots from three-point range had been counted as three points, Maravich's average would have totaled 57 points per game. And 12 Three Pointer per game.
Third, the shot clock had also not yet been instituted in NCAA play during Maravich's college career. (A time limit on ball possession speeds up play, mandates an additional number of field goal attempts, eliminates stalling, and increases the number of possessions throughout the game, all resulting in higher overall scoring.)
More than 50 years later, however, many of his NCAA and LSU records still stand. Maravich was a three-time All-American. Though he never appeared in the NCAA tournament, Maravich played a key role in turning around a lackluster program that had posted a 3–20 record in the season prior to his arrival. Maravich finished his college career in the 1970 National Invitation Tournament, where LSU finished fourth.
NCAA career statistics
Freshman
At this time, freshmen did not play on the varsity team and these stats do not count in the NCAA record books.
|-
| style="text-align:left;"| 1966–67
| style="text-align:left;"| Louisiana State
| 19 || 19 || ... || .452 || ... || .833 || 10.4 || ... || ... || ... || 43.6
Varsity
|-
| style="text-align:left;"| 1967–68
| style="text-align:left;"| Louisiana State
| 26 || 26 || ... || .423 || ... || .811 || 7.5 || 4.0 || ... || ... || 43.8
|-
| style="text-align:left;"| 1968–69
| style="text-align:left;"| Louisiana State
| 26 || 26 || ... || .444 || ... || .746 || 6.5 || 4.9 || ... || ... || 44.2
|-
| style="text-align:left;"| 1969–70
| style="text-align:left;"| Louisiana State
| 31 || 31 || ... || .447 || ... || .773 || 5.3 || 6.2 || ... || ... || 44.5
|-
| style="text-align:left;" colspan=2|Career
| 83 || 83 || ... || .438 || ... || .775 || 6.5 || 5.1 || ... || ... || 44.2
Professional career
Atlanta Hawks
The Atlanta Hawks selected Maravich with the third pick in the first round of the 1970 NBA draft, where he played for coach Richie Guerin. He was not a natural fit in Atlanta, as the Hawks already boasted a top-notch scorer at the guard position in Lou Hudson. In fact, Maravich's flamboyant style stood in stark contrast to the conservative play of Hudson and star center Walt Bellamy. And it did not help that many of the veteran players resented the $1.9 million contract that Maravich received from the team—a very large salary at that time.
Maravich appeared in 81 games and averaged 23.2 points per contest—good enough to earn NBA All-Rookie Team honors. And he managed to blend his style with his teammates, so much so that Hudson set a career high by scoring 26.8 points per game. But the team stumbled to a 36–46 record—12 wins fewer than in the previous season. Still, the Hawks qualified for the playoffs, where they lost to the New York Knicks in the first round.
Maravich struggled somewhat during his second season. His scoring average dipped to 19.3 points per game, and the Hawks finished with another disappointing 36–46 record. Once again they qualified for the playoffs, and once again they were eliminated in the first round. However, Atlanta fought hard against the Boston Celtics, with Maravich averaging 27.7 points in the series.
Maravich erupted in his third season, averaging 26.1 points (5th in the NBA) and dishing out 6.9 assists per game (6th in the NBA). With 2,063 points, he combined with Hudson (2,029 points) to become only the second set of teammates in league history to each score over 2,000 points in a single season. The Hawks soared to a 46–36 record, but again bowed out in the first round of the playoffs. However, the season was good enough to earn Maravich his first-ever appearance in the NBA All-Star Game, and also All-NBA Second Team honors.
The following season (1973–74) was his best yet—at least in terms of individual accomplishments. Maravich posted 27.7 points per game—second in the league behind Bob McAdoo—and earned his second appearance in the All-Star Game. However, Atlanta sank to a disappointing 35–47 record and missed the postseason entirely.
New Orleans Jazz
In the summer of 1974, an expansion franchise was preparing for its first season of competition in the NBA. The New Orleans Jazz were looking for something or someone to generate excitement among their new basketball fans. With his exciting style of play, Maravich was seen as the perfect man for the job. Additionally, he was already a celebrity in the state due to his accomplishments at LSU. To acquire Maravich, the Jazz traded two players and four draft picks to Atlanta.
The expansion team struggled mightily in its first season. Maravich managed to score 21.5 points per game, but shot a career-worst 41.9 percent from the floor. The Jazz posted a 23–59 record, worst in the NBA.
Jazz management did its best to give Maravich a better supporting cast. The team posted a 38–44 record in its second season (1975–76) but did not qualify for postseason play, despite the dramatic improvement. Maravich struggled with injuries that limited him to just 62 games that season, but he averaged 25.9 points per contest (third behind McAdoo and Kareem Abdul-Jabbar) and continued his crowd-pleasing antics. He was elected to the All-NBA First Team that year.
The following season (1976–77) was his most productive in the NBA. He led the league in scoring with an average of 31.1 points per game. He scored 40 points or more in 13 games, and 50 or more in 4 games. His 68-point masterpiece against the Knicks was at the time the most points ever scored by a guard in a single game, and only two players at any position had ever scored more: Wilt Chamberlain and Elgin Baylor. Baylor was head coach of the Jazz at that time.
Maravich earned his third all-star game appearance and was honored as All-NBA First Team for the second consecutive season.
The following season, injuries to both knees forced him to miss 32 games during the 1977–78 season. Despite being robbed of some quickness and athleticism, he still managed to score 27.0 points per game, and he also added 6.7 assists per contest, his highest average as a member of the Jazz. Many of those assists went to new teammate Truck Robinson, who had joined the franchise as a free agent during the off-season. In his first year in New Orleans, he averaged 22.7 points and a league-best 15.7 rebounds per game. His presence prevented opponents from focusing their defensive efforts entirely on Maravich, and it lifted the Jazz to a 39–43 record—just short of making the club's first-ever appearance in the playoffs.
Knee problems plagued Maravich for the rest of his career. He played in just 49 games during the 1978–79 season. He scored 22.6 points per game that season and earned his fifth and final All-Star appearance. But his scoring and passing abilities were severely impaired. The team struggled on the court, and faced serious financial trouble as well. Management became desperate to make some changes. The Jazz traded Robinson to the Phoenix Suns, receiving draft picks and some cash in return. However, in 1979, team owner Sam Battistone moved the Jazz to Salt Lake City.
Final season
The Utah Jazz began play in the 1979–80 season. Maravich moved with the team to Salt Lake City, but his knee problems were worse than ever. He appeared in 17 games early in the season, but his injuries prevented him from practicing much, and new coach Tom Nissalke had a strict rule that players who didn't practice were not allowed to play in games. Thus, Maravich was parked on the bench for 24 straight games, much to the dismay of Utah fans and to Maravich himself. During that time, Adrian Dantley emerged as the team's franchise player.
The Jazz placed Maravich on waivers in January 1980. He signed with the Celtics, the top team in the league that year, led by rookie superstar Larry Bird. Maravich adjusted to a new role as part-time contributor, giving Boston a "hired gun" off the bench. He helped the team post a 61–21 record in the regular season, best in the league. And, for the first time since his early career in Atlanta, Maravich was able to participate in the NBA playoffs. He appeared in nine games during that postseason, but the Celtics were upended by Julius Erving and the Philadelphia 76ers in the Eastern Conference finals, four games to one.
Realizing that his knee problems would never go away, Maravich retired at the end of that season. The NBA instituted the 3-point shot just in time for Maravich's last season in the league. He had always been famous for his long-range shooting, and his final year provided an official statistical gauge of his abilities. Between his limited playing time in Utah and Boston, he made 10 of 15 3-point shots, giving him a career 66.7% completion rate behind the arc.
During his ten-year career in the NBA, Maravich played in 658 games, averaging 24.2 points and 5.4 assists per contest. In 1987, he was inducted into the Naismith Memorial Basketball Hall of Fame, and his No. 7 jersey has been retired by both the Jazz and the New Orleans Pelicans, as well as his No. 44 jersey by the Atlanta Hawks.
NBA career statistics
Regular season
|-
| style="text-align:left;"| 1970–71
| style="text-align:left;"| Atlanta
| 81 || ... || 36.1 || .458 || ... || .800 || 3.7 || 4.4 || ... || ... || 23.2
|-
| style="text-align:left;"| 1971–72
| style="text-align:left;"| Atlanta
| 66 || ... || 34.9 || .427 || ... || .811 || 3.9 || 6.0 || ... || ... || 19.3
|-
| style="text-align:left;"| 1972–73
| style="text-align:left;"| Atlanta
| 79 || ... || 39.1 || .441 || ... || .800 || 4.4 || 6.9 || ... || ... || 26.1
|-
| style="text-align:left;"| 1973–74
| style="text-align:left;"| Atlanta
| 76 || ... || 38.2 || .457 || ... || .826 || 4.9 || 5.2 || 1.5 || .2 || 27.7
|-
| style="text-align:left;"| 1974–75
| style="text-align:left;"| New Orleans
| 79 || ... || 36.1 || .419 || ... || .811 || 5.3 || 6.2 || 1.5 || .2 || 21.5
|-
| style="text-align:left;"| 1975–76
| style="text-align:left;"| New Orleans
| 62 || ... || 38.3 || .459|| ... || .811 || 4.8 || 5.4 || 1.4 || .4 || 25.9
|-
| style="text-align:left;"| 1976–77
| style="text-align:left;"| New Orleans
| 73 || ... || 41.7 || .433 || ... || .835 || 5.1 || 5.4 || 1.2 || .3 ||style="background:#cfecec;"| 31.1*
|-
| style="text-align:left;"| 1977–78
| style="text-align:left;"| New Orleans
| 50 || ... || 40.8 || .444 || ... || .870 || 3.6 || 6.7 || 2.0 || .2 || 27.0
|-
| style="text-align:left;"| 1978–79
| style="text-align:left;"| New Orleans
| 49 || ... || 37.2 || .421 || ... || .841 || 2.5 || 5.0 || 1.2 || .4 || 22.6
|-
| style="text-align:left;"| 1979–80
| style="text-align:left;"| Utah
| 17 || ... || 30.7 || .412 || .636 || .820 || 2.4 || 3.2 || .9 || .2 || 17.1
|-
| style="text-align:left;"| 1979–80
| style="text-align:left;"| Boston
| 26 || 4 || 17.0 || .494 || .750 ||.909 || 1.5 || 1.1 || .3 || .1 || 11.5
|- class="sortbottom"
| style="text-align:center;" colspan="2"| Career
| 658 || ... || 37.0 || .441 || .667 || .820 || 4.2 || 5.4 || 1.4 || .3 || 24.2
|- class="sortbottom"
| style="text-align:center;" colspan="2"| All-Star
| 4 || 4 || 19.8 || .409 || ... || .778 || 2.0 || 3.8 || 1.0 || 0.0 || 10.8
Playoffs
|-
| style="text-align:left;"| 1971
| style="text-align:left;"| Atlanta
| 5 || ... || 39.8 || .377 || ... || .692 || 5.2 || 4.8 || ... || ... || 22.0
|-
| style="text-align:left;"| 1972
| style="text-align:left;"| Atlanta
| 6 || ... || 36.5 || .446 || ... || .817 || 5.3 || 4.7 || ... || ... || 27.7
|-
| style="text-align:left;"| 1973
| style="text-align:left;"| Atlanta
| 6 || ... || 39.0 || .419 || ... || .794 || 4.8 || 6.7 || ... || ... || 26.2
|-
| style="text-align:left;"| 1980
| style="text-align:left;"| Boston
| 9 || ... || 11.6 || .490 || .333 || .667 || .9 || .7 || .3 || .0 || 6.0
|-
| style="text-align:center;" colspan=2|Career
| 26 || ... || 29.1 || .423 || .333 || .784 || 3.6 || 3.8 || ... || ... || 18.7
|-
Later life and death
After injuries forced his retirement from the game in the fall of 1980, Maravich became a recluse for two years. Through it all, Maravich said he was searching "for life". He tried the practices of yoga and Hinduism, read Trappist monk Thomas Merton's The Seven Storey Mountain and took an interest in the field of ufology, the study of unidentified flying objects. He also explored vegetarianism and macrobiotics, adopting a vegetarian diet in 1982. Eventually, he became a born-again Christian, embracing evangelical Christianity. A few years before his death, Maravich said, "I want to be remembered as a Christian, a person that serves Him [Jesus] to the utmost, not as a basketball player."
On January 5, 1988, Maravich collapsed and died of heart failure at age 40 while playing in a pickup basketball game in the gym at First Church of the Nazarene in Pasadena, California, with a group that included evangelical author James Dobson. Maravich had flown out from his home in Louisiana to tape a segment for Dobson's radio show that aired later that day. Dobson has said that Maravich's last words, less than a minute before he died, were "I feel great." An autopsy revealed the cause of death to be a rare congenital defect; he had been born with a missing left coronary artery, a vessel that supplies blood to the muscle fibers of the heart. His right coronary artery was grossly enlarged and had been compensating for the defect.
Maravich died the year after his father's passing and a number of years after his mother, who had died of suicide with a self-inflicted gunshot. Maravich is buried at Resthaven Gardens of Memory and Mausoleum in Baton Rouge, Louisiana.
Legacy
Maravich was survived by his wife Jackie and his sons Jaeson, who was 8 years old at the time of his death, and Josh, aged 5. Only the previous year, Maravich had taken Jaeson to the 1987 NBA All-Star Game in Seattle, Washington, and introduced him to Michael Jordan.
Since Maravich's children were very young when he died, Jackie Maravich initially shielded them from unwanted media attention, not even allowing Jaeson and Josh to attend their father's funeral. However, a proclivity to basketball seemed to be an inherited trait. During a 2003 interview, Jaeson told USA Today that, when he was still only a toddler, "My dad passed me a (Nerf) basketball, and I've been hooked ever since ... My dad said I shot and missed, and I got mad and I kept shooting. He said his dad told him he did the same thing."
Despite some setbacks coping with their father's death and without the benefit that his tutelage might have provided, both sons eventually were inspired to play high school and collegiate basketball—Josh at his father's alma mater, LSU.
On June 27, 2014, Governor Bobby Jindal proposed that LSU erect a statue of Maravich outside the Assembly Center, which already bore the basketball star's name. Former coach Dale Brown opposed such a monument, but Maravich's widow, Jackie McLachlan, said that she had been promised a statue after the passing of her husband. McLachlan said that she has noticed how fans struggle to get the Maravich name on the Assembly Center into a camera frame.
In February 2016, the LSU Athletic Hall of Fame Committee unanimously approved a proposal that a statue honoring Maravich be installed on the campus.
A street in Belgrade, Serbia, is named after Pete Maravich.
Memorabilia
Maravich's untimely death and mystique have made memorabilia associated with him among the most highly prized of any basketball collectibles. Game-used Maravich jerseys bring more money at auction than similar items from anybody other than George Mikan, with the most common items selling for $10,000 and up and a game-used LSU jersey selling for $94,300 in a 2001 Grey Flannel auction. The signed game ball from his career-high 68-point night on February 25, 1977, sold for $131,450 in a 2009 Heritage auction.
Honors, books, films and music
In 1987, roughly a year before his death, Maravich co-authored an award-winning (Gold Medallion) autobiography with Darrel Campbell titled Heir to a Dream that devoted much focus to his life after retirement from basketball and his later devotion to Christianity.
In 1987, Maravich and Darrel Campbell produced the four-episode basketball instructional video series Pistol Pete's Homework Basketball.
In 1988, Frank Schroeder and Darrel Campbell produced the documentary based on Pete Maravich's college career titled, Maravich Memories: The LSU Years.
After Maravich's death, Louisiana Governor Buddy Roemer signed a proclamation officially renaming the LSU home court the Pete Maravich Assembly Center.
In 1991, a biographical film written and produced by Darrel Campbell dramatizing his 8th-grade season entitled The Pistol: The Birth of a Legend was released.
In 1996, he was named one of the 50 Greatest Players in NBA History by a panel made up of NBA historians, players, and coaches. He was the only deceased player on the list. At the 1997 All-Star Game in Cleveland, he was represented by his two sons at halftime.
In 2001, a comprehensive 90-minute documentary film debuted on CBS entitled Pistol Pete: The Life and Times of Pete Maravich.
In 2005, ESPNU named Maravich the greatest college basketball player of all time.
In 2007, two biographies of Maravich were released: Maravich by Wayne Federman and Marshall Terrill and Pistol by Mark Kriegel. Also in 2007, to promote Mark Kriegel's book "Pistol", Fox Sports conducted a contest to find "Pete Maravich's Biggest Fan". The winner was Scott Pollack of Sunrise, FL.
In 2021, he was named one of the members of the NBA 75th Anniversary Team by a panel made up of NBA historians, players and coaches. He was one of the deceased players on the list.
In 1970, during his LSU days, Acapulco Music/The Panama Limited released "The Ballad of Pete Maravich by Bob Tinney and Woody Jenkins.
The Ziggens, a band from Southern California, wrote a song about Maravich entitled "Pistol Pete".
Collegiate awards
The Sporting News College Player of the Year (1970)
USBWA College Player of the Year (1969, 1970)
Naismith Award Winner (1970)
Helms Foundation Player of the Year (1970)
UPI Player of the Year (1970)
Sporting News Player of the Year (1970)
AP College Player of the Year (1970)
The Sporting News All-America First Team (1968, 1969, 1970)
Three-time AP and UPI First-Team All-America (1968, 1969, 1970)
Led the NCAA Division I in scoring with 43.8 ppg (1968); 44.2 (1969) and 44.5 ppg (1970)
Averaged 43.6 ppg on the LSU freshman team (1967)
Scored a career-high 69 points vs. Alabama (); 66 vs. Tulane (); 64 vs. Kentucky (); 61 vs. Vanderbilt ()
Holds LSU records for most field goals made (26) and attempted (57) in a game against Vanderbilt on
All-Southeastern Conference (1968, 1969, 1970)
#23 Jersey retired by LSU (2007)
In 1970, Maravich led LSU to a 20–8 record and a fourth-place finish in the National Invitation Tournament
Collegiate records
Points, career: 3,667 (three seasons)
Highest scoring average, points per game, career: 44.2 (3,667 points/83 games)
Points, season: 1,381 (1970)
Highest scoring average, points per game, season: 44.5 (1,381/31) (1970)
Games scoring 50 or more points, career: 28
Games scoring 50 or more points, season: 10 (1970)
Field goals made, career: 1,387
Field goals made, season: 522 (1970)
Field goal attempts, career: 3,166
Field goal attempts, season: 1,168 (1970)
Free throws made, game: 30 (in 31 attempts), vs. Oregon State,
Tied by Ben Woodside, North Dakota State, on
NBA awards
NBA All-Rookie Team
All-NBA First Team (1976, 1977)
All-NBA Second Team (1973, 1978)
Five-time NBA All-Star (1973, 1974, 1977, 1978, 1979)
Led the league in scoring (31.1 ppg) in 1977, his career best
Scored a career-high 68 points against the New York Knicks on February 25, 1977
#7 jersey retired by the Utah Jazz (1985)
#7 jersey retired by the Superdome (1988)
NBA 50th Anniversary All-Time Team (1996)
NBA 75th Anniversary Team (2021)
#7 jersey retired by the New Orleans Hornets (now Pelicans) (2002), even though he never played for them—one of only four players to have a number retired by a team they did not play for; Maravich did play professionally for the New Orleans Jazz, however, and has remained a greatly admired figure amongst New Orleans sports fans ever since.
#44 jersey retired by the Atlanta Hawks (2017)
NBA records
Free throws made, quarter: 14, Pete Maravich, third quarter, Atlanta Hawks vs. Buffalo Braves,
Broken by Vince Carter on
Free throw attempts, quarter: 16, Pete Maravich, second quarter, Atlanta Hawks at Chicago Bulls,
Broken by Ben Wallace on
Second pair of teammates in NBA history to score 2,000 or more points in a season: 2, Atlanta Hawks ()
Maravich: 2,063
Lou Hudson: 2,029
Third pair of teammates in NBA history to score 40 or more points in the same game: New Orleans Jazz vs. Denver Nuggets,
Maravich: 45
Nate Williams: 41
David Thompson of the Denver Nuggets also scored 40 points in this game.
Ranks 4th in NBA history – Free throws made, none missed, game: 18–18, Pete Maravich, Atlanta Hawks vs. Buffalo Braves,
Ranks 5th in NBA history – Free throws made, game: 23, Pete Maravich, New Orleans Jazz vs. New York Knicks, (2 OT)
See also
List of individual National Basketball Association scoring leaders by season
List of National Basketball Association players with most points in a game
List of NCAA Division I men's basketball players with 60 or more points in a game
List of NCAA Division I men's basketball season scoring leaders
List of NCAA Division I men's basketball career scoring leaders
List of NCAA Division I men's basketball career free throw scoring leaders
List of National Basketball Association annual minutes leaders
Further reading
Campbell, Darrel (2019). Hero & Friend: My Days with Pistol Pete. Percussion Films. .
Brown, Danny (2008). Shooting the Pistol: Courtside Photographs of Pete Maravich at LSU. Louisiana State University Press
References
External links
NBA Historical Bio
ESPN bio
Pete Maravich's Greatest Achievement
‘68 All College MVP - 4 Days with Pistol Pete
Pete Maravich Bio LSU Tigers Athletics
1947 births
1988 deaths
All-American college men's basketball players
American evangelicals
American men's basketball players
American people of Serbian descent
Atlanta Hawks draft picks
Atlanta Hawks players
Basketball players from Pennsylvania
Boston Celtics players
College basketball announcers in the United States
LSU Tigers 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
Needham B. Broughton High School alumni
New Orleans Jazz players
Parade High School All-Americans (boys' basketball)
People from Aliquippa, Pennsylvania
Shooting guards
Sportspeople from the Pittsburgh metropolitan area
Basketball players from Raleigh, North Carolina
Utah Jazz players
| false |
[
"Pistol Pete: The Life and Times of Pete Maravich is a documentary of \"Pistol\" Pete Maravich. It first aired on CBS during the Final Four Tournament on April 1, 2001. It was produced by George Roy, written by Steven Stern, and narrated by Harry Connick, Jr. It is considered the most comprehensive documentary about Maravich ever produced.tage, plus a host of rare interviews, including Julius Erving, Les Robinson, and the camera-shy Jackie Maravich. Maravich biographer Wayne Federman is interviewed throughout and also served as a film consultant.\n\nExternal links\n\nPistol Pete: The Life and Times of Pete Maravich at Yahoo TV\n\nAmerican basketball films\nAmerican films\nDocumentary films about basketball\nCBS network films\nCollege basketball mass media in the United States\n2001 television films\n2001 films",
"Petar \"Press\" Maravich (August 29, 1915 – April 15, 1987) was an American college and professional basketball coach. He received the nickname \"Press\" as a boy, when one of his jobs was selling the Pittsburgh Press on the streets of his hometown of Aliquippa, Pennsylvania, an industrial city outside of Pittsburgh. Maravich, Sr. also served in the United States Naval Air Corps during World War II.\n\nMaravich graduated from Davis & Elkins College in 1941 and was a member of the Alpha Sigma Phi fraternity. He was the father of basketball player Pete Maravich.\n\nPlaying and coaching career\nMaravich was the son of Serb immigrants Vajo and Sara (née Radulović) from Drežnica, a village near Ogulin in modern-day Croatia. After college, he played professional basketball with the Youngstown Bears (1945–1946) of the National Basketball League, and the Pittsburgh Ironmen (1946–1947) of the Basketball Association of America.\n\nPress Maravich's first head coaching job at the college level was West Virginia Wesleyan College, 1949–1950. From there he went on to become head coach of his alma mater, Davis & Elkins, from 1950 to 1952. He had previously served as an assistant under Red Brown from 1947 to 1949.\n\nMaravich was head coach of the Tigers of Clemson University from 1956 to 1962. He then went to North Carolina State University to be an assistant coach under Everett Case. Maravich took over the head coaching duties when health problems, primarily cancer, forced Case to retire early in the 1964–1965 season. Maravich led the Wolfpack to the Atlantic Coast Conference title that season. Maravich left for Louisiana State University in April 1966 where he coached his son, Pete Maravich. Upon offering the LSU scholarship to \"Pistol\", \"Press\" told his boy that \"If you don't sign this ... don't ever come into my house again.\"{Pistol: The Life of Pete Maravich}. Pete originally wanted to go to the West Virginia University but finally agreed to go to LSU if his dad bought him a car. (Pistol: The Life of Pete Maravich.) In spite of coaching his prolific son for half of his coaching career at LSU, Maravich had an overall losing record at the school. Maravich was replaced at LSU by Dale Brown in 1972. He then went on to coach the Mountaineers of Appalachian State, shepherding them through their early years in Division I, before retiring from coaching in 1975. Maravich returned to coaching in the early 1980s as associate head coach at Campbell University.\n\nDeath\nIn the spring of 1985, Maravich was diagnosed with prostate cancer. During a basketball clinic in Israel, signs of his condition appeared when he had begun to urinate blood. Press eventually was persuaded to receive proper treatment for his condition at Memorial Sloan-Kettering Cancer Center in New York, but he canceled before being admitted. On February 11, 1987, Press and son Pete flew to Hanover, Germany, for an experimental treatment that lasted for 11 days; symptoms such as coughing subsided while the treatment had no effect on the cancer. Through the next two months, Press's condition deteriorated while Pete took constant care of him with his sister, Diana. Press Maravich lived his last days in Highland Park Hospital in Covington, Louisiana, where he died on April 15, 1987. \"Press\" Maravich lived just long enough to see Pete selected as a possible member of the Naismith Memorial Basketball Hall of Fame, but not long enough to see him officially inducted in May 1987. Pete Maravich is quoted as saying \"I'll see you soon\" to his father immediately after his death; Pete Maravich died nine months later on January 5, 1988. Both \"Press\" and his son became born-again Christians late in their lives.\n\nBAA career statistics\n\nRegular season\n\nHead coaching record\n\nCollege\n\nFurther reading\n\nReferences\n\nExternal links\n\n1915 births\n1987 deaths\nAmerican men's basketball coaches\nAmerican men's basketball players\nAmerican people of Serbian descent\nAppalachian State Mountaineers men's basketball coaches\nBasketball coaches from Pennsylvania\nBasketball players from Pennsylvania\nClemson Tigers men's basketball coaches\nCollege men's basketball head coaches in the United States\nDavis & Elkins Senators men's basketball coaches\nDavis & Elkins Senators men's basketball players\nDeaths from cancer in Louisiana\nDeaths from prostate cancer\nDetroit Eagles players\nHigh school basketball coaches in the United States\nLSU Tigers basketball coaches\nNC State Wolfpack men's basketball coaches\nPeople from Aliquippa, Pennsylvania\nPittsburgh Ironmen players\nSportspeople from the Pittsburgh metropolitan area\nUnited States Naval Aviators\nWest Virginia Wesleyan Bobcats basketball coaches\nYoungstown Bears players\nGuards (basketball)\nMilitary personnel from Pennsylvania"
] |
[
"Pete Maravich",
"Legacy",
"What was Maravich's legacy?",
"Maravich was survived by his wife Jackie and his two sons Jaeson, who was 8 years old, and Josh, aged 5.",
"Was his family with him at the time of his death?",
"I don't know.",
"Was Maravich involved with any type of charity organizations?",
"I don't know.",
"What do you find significant about Maravich's legacy?",
"both sons eventually were inspired to play high school and collegiate basketball--Josh at his father's alma mater, LSU."
] |
C_944020ab787349289f7fba127ae6bd15_0
|
Were his son's successful as their father in basketball?
| 5 |
Were Pete Maravich's son's as successful as their father in basketball?
|
Pete Maravich
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Maravich was survived by his wife Jackie and his two sons Jaeson, who was 8 years old, and Josh, aged 5. Only the previous year, Maravich had taken Jaeson to the 1987 NBA All-Star Game in Seattle, Washington, and introduced him to Michael Jordan. Since Maravich's children were very young when he died, Jackie Maravich initially shielded them from unwanted media attention, not even allowing Jaeson and Josh to attend their father's funeral. However, a proclivity to basketball seemed to be an inherited trait. During a 2003 interview, Jaeson told USA Today that, when he was still only a toddler, "My dad passed me a (Nerf) basketball, and I've been hooked ever since... . My dad said I shot and missed, and I got mad and I kept shooting. He said his dad told him he did the same thing." Despite some setbacks coping with their father's death and without the benefit that his tutelage might have provided, both sons eventually were inspired to play high school and collegiate basketball--Josh at his father's alma mater, LSU. On June 27, 2014, Governor Bobby Jindal proposed that LSU erect a statue of Maravich outside the Assembly Center which already bears the basketball star's name. Former coach Dale Brown opposes such a monument, but Maravich's widow, Jackie McLachlan, said that she had been promised a statue after the passing of her husband. McLachlan said that she has noticed how fans struggle to get the Maravich name on the Assembly Center into a camera frame. In February 2016, the LSU Athletic Hall of Fame Committee unanimously approved a proposal that a statue honoring Maravich be installed on the campus. CANNOTANSWER
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Peter Press Maravich (; June 22, 1947 – January 5, 1988), known by his nickname Pistol Pete, was an American professional basketball player. Maravich was born in Aliquippa, Pennsylvania, part of the Pittsburgh metropolitan area, and raised in the Carolinas. Maravich starred in college with the LSU Tigers while playing for his father, head coach Press Maravich. He is the all-time leading NCAA Division I scorer with 3,667 points scored and an average of 44.2 points per game. All of his accomplishments were achieved before the adoption of the three-point line and shot clock, and despite being unable to play varsity as a freshman under then-NCAA rules. He played for three National Basketball Association (NBA) teams until injuries forced his retirement in 1980 following a 10-year professional career.
One of the youngest players ever inducted into the Naismith Memorial Basketball Hall of Fame, Maravich was considered to be one of the greatest creative offensive talents ever and one of the best ball handlers of all time. He died suddenly at age 40 during a pick-up game in 1988 as a consequence of an undetected heart defect.
Early life
Maravich was born to Peter "Press" Maravich (1915–1987) and Helen Gravor Maravich (1925–1974) in Aliquippa, a steel town in Beaver County in western Pennsylvania, near Pittsburgh. Maravich amazed his family and friends with his basketball abilities from an early age. He enjoyed a close but demanding father-son relationship that motivated him toward achievement and fame in the sport. Maravich's father was the son of Serbian immigrants and a professional player–turned-coach. He showed him the fundamentals starting when he was seven years old. Obsessively, Maravich spent hours practicing ball control tricks, passes, head fakes, and long-range shots.
Maravich played high school varsity ball at Daniel High School in Central, South Carolina, a year before being old enough to attend the school. While at Daniel from 1961 to 1963, Maravich participated in the school's first-ever game against a team from an all-black school. In 1963 his father departed from his position as head basketball coach at Clemson University and joined the coaching staff at North Carolina State University. The Maravich family's subsequent move to Raleigh, North Carolina, allowed Maravich to attend Needham B. Broughton High School. His high school years also saw the birth of his famous moniker. From his habit of shooting the ball from his side, as if holding a revolver, Maravich became known as "Pistol" Pete Maravich. He graduated from Needham B. Broughton High School in 1965 and then attended Edwards Military Institute, where he averaged 33 points per game. Maravich never liked school and did not like Edwards Military Institute. It was known that Press Maravich was extremely protective of Maravich and would guard against any issue that might come up during his adolescence. Press threatened to shoot Maravich with a 45 caliber pistol if he drank or got into trouble. Maravich was 6 feet 4 inches in high school and was getting ready to play in college when his father took a coaching position at Louisiana State University.
College career
At that time NCAA rules prohibited first-year students from playing at varsity level, which forced Maravich to play on the freshman team. In his first game, Maravich put up 50 points, 14 rebounds and 11 assists against Southeastern Louisiana College.
In only three years playing on the varsity team (and under his father's coaching) at LSU, Maravich scored 3,667 points—1,138 of those in 1967–68, 1,148 in 1968–69, and 1,381 in 1969–70—while averaging 43.8, 44.2, and 44.5 points per game, respectively. For his collegiate career, the 6'5" (1.96 m) guard averaged 44.2 points per game in 83 contests and led the NCAA in scoring for each of his three seasons.
Maravich's long-standing collegiate scoring record is particularly notable when three factors are taken into account:
First, because of the NCAA rules that prohibited him from taking part in varsity competition during his first year as a student, Maravich was prevented from adding to his career record for a full quarter of his time at LSU. During this first year, Maravich scored 741 points in freshman competition.
Second, Maravich played before the advent of the three-point line. This significant difference has raised speculation regarding just how much higher his records would be, given his long-range shooting ability and how such a component might have altered his play. Writing for ESPN.com, Bob Carter stated, "Though Maravich played before [...] the 3-point shot was established, he loved gunning from long range." It has been reported that former LSU coach Dale Brown charted every shot Maravich scored and concluded that, if his shots from three-point range had been counted as three points, Maravich's average would have totaled 57 points per game. And 12 Three Pointer per game.
Third, the shot clock had also not yet been instituted in NCAA play during Maravich's college career. (A time limit on ball possession speeds up play, mandates an additional number of field goal attempts, eliminates stalling, and increases the number of possessions throughout the game, all resulting in higher overall scoring.)
More than 50 years later, however, many of his NCAA and LSU records still stand. Maravich was a three-time All-American. Though he never appeared in the NCAA tournament, Maravich played a key role in turning around a lackluster program that had posted a 3–20 record in the season prior to his arrival. Maravich finished his college career in the 1970 National Invitation Tournament, where LSU finished fourth.
NCAA career statistics
Freshman
At this time, freshmen did not play on the varsity team and these stats do not count in the NCAA record books.
|-
| style="text-align:left;"| 1966–67
| style="text-align:left;"| Louisiana State
| 19 || 19 || ... || .452 || ... || .833 || 10.4 || ... || ... || ... || 43.6
Varsity
|-
| style="text-align:left;"| 1967–68
| style="text-align:left;"| Louisiana State
| 26 || 26 || ... || .423 || ... || .811 || 7.5 || 4.0 || ... || ... || 43.8
|-
| style="text-align:left;"| 1968–69
| style="text-align:left;"| Louisiana State
| 26 || 26 || ... || .444 || ... || .746 || 6.5 || 4.9 || ... || ... || 44.2
|-
| style="text-align:left;"| 1969–70
| style="text-align:left;"| Louisiana State
| 31 || 31 || ... || .447 || ... || .773 || 5.3 || 6.2 || ... || ... || 44.5
|-
| style="text-align:left;" colspan=2|Career
| 83 || 83 || ... || .438 || ... || .775 || 6.5 || 5.1 || ... || ... || 44.2
Professional career
Atlanta Hawks
The Atlanta Hawks selected Maravich with the third pick in the first round of the 1970 NBA draft, where he played for coach Richie Guerin. He was not a natural fit in Atlanta, as the Hawks already boasted a top-notch scorer at the guard position in Lou Hudson. In fact, Maravich's flamboyant style stood in stark contrast to the conservative play of Hudson and star center Walt Bellamy. And it did not help that many of the veteran players resented the $1.9 million contract that Maravich received from the team—a very large salary at that time.
Maravich appeared in 81 games and averaged 23.2 points per contest—good enough to earn NBA All-Rookie Team honors. And he managed to blend his style with his teammates, so much so that Hudson set a career high by scoring 26.8 points per game. But the team stumbled to a 36–46 record—12 wins fewer than in the previous season. Still, the Hawks qualified for the playoffs, where they lost to the New York Knicks in the first round.
Maravich struggled somewhat during his second season. His scoring average dipped to 19.3 points per game, and the Hawks finished with another disappointing 36–46 record. Once again they qualified for the playoffs, and once again they were eliminated in the first round. However, Atlanta fought hard against the Boston Celtics, with Maravich averaging 27.7 points in the series.
Maravich erupted in his third season, averaging 26.1 points (5th in the NBA) and dishing out 6.9 assists per game (6th in the NBA). With 2,063 points, he combined with Hudson (2,029 points) to become only the second set of teammates in league history to each score over 2,000 points in a single season. The Hawks soared to a 46–36 record, but again bowed out in the first round of the playoffs. However, the season was good enough to earn Maravich his first-ever appearance in the NBA All-Star Game, and also All-NBA Second Team honors.
The following season (1973–74) was his best yet—at least in terms of individual accomplishments. Maravich posted 27.7 points per game—second in the league behind Bob McAdoo—and earned his second appearance in the All-Star Game. However, Atlanta sank to a disappointing 35–47 record and missed the postseason entirely.
New Orleans Jazz
In the summer of 1974, an expansion franchise was preparing for its first season of competition in the NBA. The New Orleans Jazz were looking for something or someone to generate excitement among their new basketball fans. With his exciting style of play, Maravich was seen as the perfect man for the job. Additionally, he was already a celebrity in the state due to his accomplishments at LSU. To acquire Maravich, the Jazz traded two players and four draft picks to Atlanta.
The expansion team struggled mightily in its first season. Maravich managed to score 21.5 points per game, but shot a career-worst 41.9 percent from the floor. The Jazz posted a 23–59 record, worst in the NBA.
Jazz management did its best to give Maravich a better supporting cast. The team posted a 38–44 record in its second season (1975–76) but did not qualify for postseason play, despite the dramatic improvement. Maravich struggled with injuries that limited him to just 62 games that season, but he averaged 25.9 points per contest (third behind McAdoo and Kareem Abdul-Jabbar) and continued his crowd-pleasing antics. He was elected to the All-NBA First Team that year.
The following season (1976–77) was his most productive in the NBA. He led the league in scoring with an average of 31.1 points per game. He scored 40 points or more in 13 games, and 50 or more in 4 games. His 68-point masterpiece against the Knicks was at the time the most points ever scored by a guard in a single game, and only two players at any position had ever scored more: Wilt Chamberlain and Elgin Baylor. Baylor was head coach of the Jazz at that time.
Maravich earned his third all-star game appearance and was honored as All-NBA First Team for the second consecutive season.
The following season, injuries to both knees forced him to miss 32 games during the 1977–78 season. Despite being robbed of some quickness and athleticism, he still managed to score 27.0 points per game, and he also added 6.7 assists per contest, his highest average as a member of the Jazz. Many of those assists went to new teammate Truck Robinson, who had joined the franchise as a free agent during the off-season. In his first year in New Orleans, he averaged 22.7 points and a league-best 15.7 rebounds per game. His presence prevented opponents from focusing their defensive efforts entirely on Maravich, and it lifted the Jazz to a 39–43 record—just short of making the club's first-ever appearance in the playoffs.
Knee problems plagued Maravich for the rest of his career. He played in just 49 games during the 1978–79 season. He scored 22.6 points per game that season and earned his fifth and final All-Star appearance. But his scoring and passing abilities were severely impaired. The team struggled on the court, and faced serious financial trouble as well. Management became desperate to make some changes. The Jazz traded Robinson to the Phoenix Suns, receiving draft picks and some cash in return. However, in 1979, team owner Sam Battistone moved the Jazz to Salt Lake City.
Final season
The Utah Jazz began play in the 1979–80 season. Maravich moved with the team to Salt Lake City, but his knee problems were worse than ever. He appeared in 17 games early in the season, but his injuries prevented him from practicing much, and new coach Tom Nissalke had a strict rule that players who didn't practice were not allowed to play in games. Thus, Maravich was parked on the bench for 24 straight games, much to the dismay of Utah fans and to Maravich himself. During that time, Adrian Dantley emerged as the team's franchise player.
The Jazz placed Maravich on waivers in January 1980. He signed with the Celtics, the top team in the league that year, led by rookie superstar Larry Bird. Maravich adjusted to a new role as part-time contributor, giving Boston a "hired gun" off the bench. He helped the team post a 61–21 record in the regular season, best in the league. And, for the first time since his early career in Atlanta, Maravich was able to participate in the NBA playoffs. He appeared in nine games during that postseason, but the Celtics were upended by Julius Erving and the Philadelphia 76ers in the Eastern Conference finals, four games to one.
Realizing that his knee problems would never go away, Maravich retired at the end of that season. The NBA instituted the 3-point shot just in time for Maravich's last season in the league. He had always been famous for his long-range shooting, and his final year provided an official statistical gauge of his abilities. Between his limited playing time in Utah and Boston, he made 10 of 15 3-point shots, giving him a career 66.7% completion rate behind the arc.
During his ten-year career in the NBA, Maravich played in 658 games, averaging 24.2 points and 5.4 assists per contest. In 1987, he was inducted into the Naismith Memorial Basketball Hall of Fame, and his No. 7 jersey has been retired by both the Jazz and the New Orleans Pelicans, as well as his No. 44 jersey by the Atlanta Hawks.
NBA career statistics
Regular season
|-
| style="text-align:left;"| 1970–71
| style="text-align:left;"| Atlanta
| 81 || ... || 36.1 || .458 || ... || .800 || 3.7 || 4.4 || ... || ... || 23.2
|-
| style="text-align:left;"| 1971–72
| style="text-align:left;"| Atlanta
| 66 || ... || 34.9 || .427 || ... || .811 || 3.9 || 6.0 || ... || ... || 19.3
|-
| style="text-align:left;"| 1972–73
| style="text-align:left;"| Atlanta
| 79 || ... || 39.1 || .441 || ... || .800 || 4.4 || 6.9 || ... || ... || 26.1
|-
| style="text-align:left;"| 1973–74
| style="text-align:left;"| Atlanta
| 76 || ... || 38.2 || .457 || ... || .826 || 4.9 || 5.2 || 1.5 || .2 || 27.7
|-
| style="text-align:left;"| 1974–75
| style="text-align:left;"| New Orleans
| 79 || ... || 36.1 || .419 || ... || .811 || 5.3 || 6.2 || 1.5 || .2 || 21.5
|-
| style="text-align:left;"| 1975–76
| style="text-align:left;"| New Orleans
| 62 || ... || 38.3 || .459|| ... || .811 || 4.8 || 5.4 || 1.4 || .4 || 25.9
|-
| style="text-align:left;"| 1976–77
| style="text-align:left;"| New Orleans
| 73 || ... || 41.7 || .433 || ... || .835 || 5.1 || 5.4 || 1.2 || .3 ||style="background:#cfecec;"| 31.1*
|-
| style="text-align:left;"| 1977–78
| style="text-align:left;"| New Orleans
| 50 || ... || 40.8 || .444 || ... || .870 || 3.6 || 6.7 || 2.0 || .2 || 27.0
|-
| style="text-align:left;"| 1978–79
| style="text-align:left;"| New Orleans
| 49 || ... || 37.2 || .421 || ... || .841 || 2.5 || 5.0 || 1.2 || .4 || 22.6
|-
| style="text-align:left;"| 1979–80
| style="text-align:left;"| Utah
| 17 || ... || 30.7 || .412 || .636 || .820 || 2.4 || 3.2 || .9 || .2 || 17.1
|-
| style="text-align:left;"| 1979–80
| style="text-align:left;"| Boston
| 26 || 4 || 17.0 || .494 || .750 ||.909 || 1.5 || 1.1 || .3 || .1 || 11.5
|- class="sortbottom"
| style="text-align:center;" colspan="2"| Career
| 658 || ... || 37.0 || .441 || .667 || .820 || 4.2 || 5.4 || 1.4 || .3 || 24.2
|- class="sortbottom"
| style="text-align:center;" colspan="2"| All-Star
| 4 || 4 || 19.8 || .409 || ... || .778 || 2.0 || 3.8 || 1.0 || 0.0 || 10.8
Playoffs
|-
| style="text-align:left;"| 1971
| style="text-align:left;"| Atlanta
| 5 || ... || 39.8 || .377 || ... || .692 || 5.2 || 4.8 || ... || ... || 22.0
|-
| style="text-align:left;"| 1972
| style="text-align:left;"| Atlanta
| 6 || ... || 36.5 || .446 || ... || .817 || 5.3 || 4.7 || ... || ... || 27.7
|-
| style="text-align:left;"| 1973
| style="text-align:left;"| Atlanta
| 6 || ... || 39.0 || .419 || ... || .794 || 4.8 || 6.7 || ... || ... || 26.2
|-
| style="text-align:left;"| 1980
| style="text-align:left;"| Boston
| 9 || ... || 11.6 || .490 || .333 || .667 || .9 || .7 || .3 || .0 || 6.0
|-
| style="text-align:center;" colspan=2|Career
| 26 || ... || 29.1 || .423 || .333 || .784 || 3.6 || 3.8 || ... || ... || 18.7
|-
Later life and death
After injuries forced his retirement from the game in the fall of 1980, Maravich became a recluse for two years. Through it all, Maravich said he was searching "for life". He tried the practices of yoga and Hinduism, read Trappist monk Thomas Merton's The Seven Storey Mountain and took an interest in the field of ufology, the study of unidentified flying objects. He also explored vegetarianism and macrobiotics, adopting a vegetarian diet in 1982. Eventually, he became a born-again Christian, embracing evangelical Christianity. A few years before his death, Maravich said, "I want to be remembered as a Christian, a person that serves Him [Jesus] to the utmost, not as a basketball player."
On January 5, 1988, Maravich collapsed and died of heart failure at age 40 while playing in a pickup basketball game in the gym at First Church of the Nazarene in Pasadena, California, with a group that included evangelical author James Dobson. Maravich had flown out from his home in Louisiana to tape a segment for Dobson's radio show that aired later that day. Dobson has said that Maravich's last words, less than a minute before he died, were "I feel great." An autopsy revealed the cause of death to be a rare congenital defect; he had been born with a missing left coronary artery, a vessel that supplies blood to the muscle fibers of the heart. His right coronary artery was grossly enlarged and had been compensating for the defect.
Maravich died the year after his father's passing and a number of years after his mother, who had died of suicide with a self-inflicted gunshot. Maravich is buried at Resthaven Gardens of Memory and Mausoleum in Baton Rouge, Louisiana.
Legacy
Maravich was survived by his wife Jackie and his sons Jaeson, who was 8 years old at the time of his death, and Josh, aged 5. Only the previous year, Maravich had taken Jaeson to the 1987 NBA All-Star Game in Seattle, Washington, and introduced him to Michael Jordan.
Since Maravich's children were very young when he died, Jackie Maravich initially shielded them from unwanted media attention, not even allowing Jaeson and Josh to attend their father's funeral. However, a proclivity to basketball seemed to be an inherited trait. During a 2003 interview, Jaeson told USA Today that, when he was still only a toddler, "My dad passed me a (Nerf) basketball, and I've been hooked ever since ... My dad said I shot and missed, and I got mad and I kept shooting. He said his dad told him he did the same thing."
Despite some setbacks coping with their father's death and without the benefit that his tutelage might have provided, both sons eventually were inspired to play high school and collegiate basketball—Josh at his father's alma mater, LSU.
On June 27, 2014, Governor Bobby Jindal proposed that LSU erect a statue of Maravich outside the Assembly Center, which already bore the basketball star's name. Former coach Dale Brown opposed such a monument, but Maravich's widow, Jackie McLachlan, said that she had been promised a statue after the passing of her husband. McLachlan said that she has noticed how fans struggle to get the Maravich name on the Assembly Center into a camera frame.
In February 2016, the LSU Athletic Hall of Fame Committee unanimously approved a proposal that a statue honoring Maravich be installed on the campus.
A street in Belgrade, Serbia, is named after Pete Maravich.
Memorabilia
Maravich's untimely death and mystique have made memorabilia associated with him among the most highly prized of any basketball collectibles. Game-used Maravich jerseys bring more money at auction than similar items from anybody other than George Mikan, with the most common items selling for $10,000 and up and a game-used LSU jersey selling for $94,300 in a 2001 Grey Flannel auction. The signed game ball from his career-high 68-point night on February 25, 1977, sold for $131,450 in a 2009 Heritage auction.
Honors, books, films and music
In 1987, roughly a year before his death, Maravich co-authored an award-winning (Gold Medallion) autobiography with Darrel Campbell titled Heir to a Dream that devoted much focus to his life after retirement from basketball and his later devotion to Christianity.
In 1987, Maravich and Darrel Campbell produced the four-episode basketball instructional video series Pistol Pete's Homework Basketball.
In 1988, Frank Schroeder and Darrel Campbell produced the documentary based on Pete Maravich's college career titled, Maravich Memories: The LSU Years.
After Maravich's death, Louisiana Governor Buddy Roemer signed a proclamation officially renaming the LSU home court the Pete Maravich Assembly Center.
In 1991, a biographical film written and produced by Darrel Campbell dramatizing his 8th-grade season entitled The Pistol: The Birth of a Legend was released.
In 1996, he was named one of the 50 Greatest Players in NBA History by a panel made up of NBA historians, players, and coaches. He was the only deceased player on the list. At the 1997 All-Star Game in Cleveland, he was represented by his two sons at halftime.
In 2001, a comprehensive 90-minute documentary film debuted on CBS entitled Pistol Pete: The Life and Times of Pete Maravich.
In 2005, ESPNU named Maravich the greatest college basketball player of all time.
In 2007, two biographies of Maravich were released: Maravich by Wayne Federman and Marshall Terrill and Pistol by Mark Kriegel. Also in 2007, to promote Mark Kriegel's book "Pistol", Fox Sports conducted a contest to find "Pete Maravich's Biggest Fan". The winner was Scott Pollack of Sunrise, FL.
In 2021, he was named one of the members of the NBA 75th Anniversary Team by a panel made up of NBA historians, players and coaches. He was one of the deceased players on the list.
In 1970, during his LSU days, Acapulco Music/The Panama Limited released "The Ballad of Pete Maravich by Bob Tinney and Woody Jenkins.
The Ziggens, a band from Southern California, wrote a song about Maravich entitled "Pistol Pete".
Collegiate awards
The Sporting News College Player of the Year (1970)
USBWA College Player of the Year (1969, 1970)
Naismith Award Winner (1970)
Helms Foundation Player of the Year (1970)
UPI Player of the Year (1970)
Sporting News Player of the Year (1970)
AP College Player of the Year (1970)
The Sporting News All-America First Team (1968, 1969, 1970)
Three-time AP and UPI First-Team All-America (1968, 1969, 1970)
Led the NCAA Division I in scoring with 43.8 ppg (1968); 44.2 (1969) and 44.5 ppg (1970)
Averaged 43.6 ppg on the LSU freshman team (1967)
Scored a career-high 69 points vs. Alabama (); 66 vs. Tulane (); 64 vs. Kentucky (); 61 vs. Vanderbilt ()
Holds LSU records for most field goals made (26) and attempted (57) in a game against Vanderbilt on
All-Southeastern Conference (1968, 1969, 1970)
#23 Jersey retired by LSU (2007)
In 1970, Maravich led LSU to a 20–8 record and a fourth-place finish in the National Invitation Tournament
Collegiate records
Points, career: 3,667 (three seasons)
Highest scoring average, points per game, career: 44.2 (3,667 points/83 games)
Points, season: 1,381 (1970)
Highest scoring average, points per game, season: 44.5 (1,381/31) (1970)
Games scoring 50 or more points, career: 28
Games scoring 50 or more points, season: 10 (1970)
Field goals made, career: 1,387
Field goals made, season: 522 (1970)
Field goal attempts, career: 3,166
Field goal attempts, season: 1,168 (1970)
Free throws made, game: 30 (in 31 attempts), vs. Oregon State,
Tied by Ben Woodside, North Dakota State, on
NBA awards
NBA All-Rookie Team
All-NBA First Team (1976, 1977)
All-NBA Second Team (1973, 1978)
Five-time NBA All-Star (1973, 1974, 1977, 1978, 1979)
Led the league in scoring (31.1 ppg) in 1977, his career best
Scored a career-high 68 points against the New York Knicks on February 25, 1977
#7 jersey retired by the Utah Jazz (1985)
#7 jersey retired by the Superdome (1988)
NBA 50th Anniversary All-Time Team (1996)
NBA 75th Anniversary Team (2021)
#7 jersey retired by the New Orleans Hornets (now Pelicans) (2002), even though he never played for them—one of only four players to have a number retired by a team they did not play for; Maravich did play professionally for the New Orleans Jazz, however, and has remained a greatly admired figure amongst New Orleans sports fans ever since.
#44 jersey retired by the Atlanta Hawks (2017)
NBA records
Free throws made, quarter: 14, Pete Maravich, third quarter, Atlanta Hawks vs. Buffalo Braves,
Broken by Vince Carter on
Free throw attempts, quarter: 16, Pete Maravich, second quarter, Atlanta Hawks at Chicago Bulls,
Broken by Ben Wallace on
Second pair of teammates in NBA history to score 2,000 or more points in a season: 2, Atlanta Hawks ()
Maravich: 2,063
Lou Hudson: 2,029
Third pair of teammates in NBA history to score 40 or more points in the same game: New Orleans Jazz vs. Denver Nuggets,
Maravich: 45
Nate Williams: 41
David Thompson of the Denver Nuggets also scored 40 points in this game.
Ranks 4th in NBA history – Free throws made, none missed, game: 18–18, Pete Maravich, Atlanta Hawks vs. Buffalo Braves,
Ranks 5th in NBA history – Free throws made, game: 23, Pete Maravich, New Orleans Jazz vs. New York Knicks, (2 OT)
See also
List of individual National Basketball Association scoring leaders by season
List of National Basketball Association players with most points in a game
List of NCAA Division I men's basketball players with 60 or more points in a game
List of NCAA Division I men's basketball season scoring leaders
List of NCAA Division I men's basketball career scoring leaders
List of NCAA Division I men's basketball career free throw scoring leaders
List of National Basketball Association annual minutes leaders
Further reading
Campbell, Darrel (2019). Hero & Friend: My Days with Pistol Pete. Percussion Films. .
Brown, Danny (2008). Shooting the Pistol: Courtside Photographs of Pete Maravich at LSU. Louisiana State University Press
References
External links
NBA Historical Bio
ESPN bio
Pete Maravich's Greatest Achievement
‘68 All College MVP - 4 Days with Pistol Pete
Pete Maravich Bio LSU Tigers Athletics
1947 births
1988 deaths
All-American college men's basketball players
American evangelicals
American men's basketball players
American people of Serbian descent
Atlanta Hawks draft picks
Atlanta Hawks players
Basketball players from Pennsylvania
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College basketball announcers in the United States
LSU Tigers 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
Needham B. Broughton High School alumni
New Orleans Jazz players
Parade High School All-Americans (boys' basketball)
People from Aliquippa, Pennsylvania
Shooting guards
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Utah Jazz players
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"Ronald Ellett (born 1942) is a retired American football coach.\n\nEarly life and playing career\nRonald Ellett was born in 1942 in Indiana, the son of H. Archie Ellett and Frances Elizabeth Ellett. Ellett's grandfather was James Fred Ellett, the son of Willis A. Gorman Ellett. Willis was the son of David Ellett whose father was Edward Ellett, Sr. the founder of Ellettsville, Indiana.\n\nEllett came from a successful high school football program. Jamaica High School was undefeated when he was a senior in 1959. Ellett earned 13 letters at Jamaica, four in baseball and three each in football, basketball and track. He was a Little All-State selection in football by the Chicago Daily News and earned special mention all-state recognition in basketball. As a senior, Ellett was the Vermilion County scoring leader in both football and basketball. He went on to Eastern Illinois University, where he lettered in football for three years, the amount of time it took Ellett to earn his degree. At Eastern Illinois University he played quarterback primarily running the shotgun offense. In 2009 Ellett was recognized as the best athlete to have ever played a Jamaica High School by the Champaign News Gazette.\n\nCoaching career\n\nHigh school\nEllett started the football program at Hampshire High School in Hampshire, Illinois in 1964. During his tenure Ellett guided the Whippurs to five conference titles, two state championships, and one finish as state runner-up. Ellett was also the baseball coach at Hampshire and lead the baseball team to their first district championship in 1977. He then went to Elgin High School in Elgin, Illinois as head coach for one year while guiding the football team to a conference championship and its first football state playoff berth in school history. Ellett then accepted a position as head college at North Park College.\n\nIn 1994, Ellett was inducted into the Illinois High School Coaches' Hall of Fame. On May 12, 2012, Ellett's former players from Hampshire High School held a banquet in his honor where he received several standing ovations for his efforts and compassion as a coach.\n\nNorth Park\nEllett was the head football coach at North Park College—now known as North Park University—in Chicago. He held that position for the 1986 season. His coaching record at North Park was 0–9. Ellett then retired from coaching and became a home builder.\n\nFamily\nEllett is the grandfather of fourteen and the father of three sons and a daughter. His oldest son, Ronald J. Ellett, is an attorney in Phoenix Arizona. Doug Ellett followed in his father's footsteps as a high school teacher and successful coach. The youngest son, Matthew Ellett, is also a successful High school coach, home builder, and developer, while the daughter, Amy Ellett Johnson, is an elementary school teacher for over 30 years.\n\nHead coaching record\n\nCollege\n\nReferences\n\n1942 births\nLiving people\nAmerican football quarterbacks\nEastern Illinois Panthers football players\nNorth Park Vikings football coaches\nHigh school baseball coaches in the United States\nHigh school football coaches in Illinois\nPeople from Hampshire, Illinois\nPeople from Vermilion County, Illinois\nCoaches of American football from Illinois\nPlayers of American football from Illinois",
"The following is a list of father-and-son combinations who have played in the National Basketball Association (NBA). The list includes players who played for the Basketball Association of America (BAA) before it was renamed NBA in 1949, as well as the National Basketball League (NBL), which was absorbed by the NBA in 1949, and the original American Basketball Association (ABA), which was merged with the NBA in 1976.\n\nFather–son\n\nGrandfather–grandson\n\nReferences\nGeneral\n\n \n \n \n\nSpecific\n\nNational Basketball Association lists\nBasketball\nBasketball families"
] |
[
"Lindsay Lohan",
"2005-08: Continued success and legal troubles"
] |
C_2a6bbe85d9ac4ceb9b281ff28685e7ca_0
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Did Lindsay Lohan ever go to jail?
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Did Lindsay Lohan ever go to jail?
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Lindsay Lohan
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Lohan returned to Disney in 2005, starring in the comedy Herbie: Fully Loaded, the fifth film in the series with the anthropomorphic car Herbie. Fully Loaded earned $144 million worldwide, but it received mixed reviews. Stephen Holden of The New York Times called Lohan "a genuine star who ... seems completely at home on the screen", while James Berardinelli wrote that "as bright a starlet as she may be, Lohan ends up playing second fiddle to the car." While shooting the film in 2004, Lohan was hospitalized with a kidney infection brought on by stress in her personal life and from recording her first album while the film was in production, prompting Vanity Fair to label it Lohan's "first disastrous shoot." She also guest-starred in an episode of That '70s Show, of whose cast Wilmer Valderrama, her boyfriend at the time, was a regular member. According to Vanity Fair, the breakup with Valderrama contributed to Lohan's issues during the Herbie shoot. In 2005, Lohan became the first person to have a My Scene celebrity doll released by Mattel. She also voiced herself in the animated direct-to-DVD film My Scene Goes Hollywood: The Movie, based on the series of dolls. Following Mean Girls, Lohan spent several years living out of hotels in Los Angeles, of which two years were spent at the infamous Chateau Marmont, where comedy actor John Belushi had died. In late 2007, after settling down in a more permanent residence, she explained that she "didn't want to be alone" but that "it wasn't a way of life ... not very consistent." She had a series of car accidents that were widely reported, in August 2004, October 2005, and November 2006, when she suffered minor injuries because a paparazzo who was following her for a photograph hit her car. Lohan's next widely released film, the romantic comedy Just My Luck, opened in May 2006 and, according to Variety, earned her over $7 million. The opening weekend box office takings of $5.7 million "broke lead actress Lindsay Lohan's winning streak" according to Brandon Gray. The film received poor reviews and earned Lohan her first Golden Raspberry nomination for Worst Actress. Following Just My Luck, Lohan focused on smaller roles in more mature, independent movies. Robert Altman's ensemble comedy A Prairie Home Companion, based on humorist Garrison Keillor's works, in which Lohan co-stars with Meryl Streep and Lily Tomlin, had a limited release in June 2006. Peter Travers wrote for Rolling Stone that "Lohan rises to the occasion, delivering a rock-the-house version of 'Frankie and Johnny.'" Co-star Streep said of Lohan's acting: "She's in command of the art form" and "completely, visibly living in front of the camera." The Emilio Estevez ensemble drama Bobby, about the hours leading up to the Robert F. Kennedy assassination, was released in theaters in November 2006. Lohan received favorable comments for her performance, particularly a scene alongside Sharon Stone. As part of the Bobby ensemble cast, Lohan was nominated for a Screen Actors Guild Award. In 2006, Lohan attended Alcoholics Anonymous meetings. CANNOTANSWER
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CANNOTANSWER
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Lindsay Dee Lohan (; born July 2, 1986) is an American actress, singer, songwriter, producer, entrepreneur, and former model. Born and raised in New York City, Lohan was signed to Ford Models at the age of three. Having appeared as a regular on the television soap opera Another World at age 10, her breakthrough came in the Walt Disney Pictures film The Parent Trap (1998). The film's success led to appearances in the television films Life-Size (2000) and Get a Clue (2002), and the big-screen productions Freaky Friday (2003) and Confessions of a Teenage Drama Queen (2004).
Lohan's early work won her childhood stardom, while the teen comedy sleeper hit Mean Girls (2004) affirmed her status as a teen idol. After starring in the sports comedy film Herbie: Fully Loaded (2005), Lohan quickly became the subject of intense media coverage due to a series of personal struggles and legal troubles, as well as a number of stints in rehabilitation facilities due to substance abuse. This period saw her lose several roles and had significantly impacted her career and public image negatively. Thereafter, she appeared in films, such as A Prairie Home Companion (2006), Just My Luck (2006), Bobby (2006), Chapter 27 (2007), Machete (2010), Liz & Dick (2012), and The Canyons (2013).
Lohan then appeared on various television shows, including the docu-series Lindsay (2014), the British comedy series Sick Note (2018), the MTV reality show Lindsay Lohan's Beach Club (2019), and the musical competition show The Masked Singer Australia (2019) in which she served as a judge. She also made her stage debut in the London West End production of Speed-the-Plow (2014–2015).
Lohan rose to prominence in the music industry under Casablanca Records, releasing two studio albums, the platinum-certified Speak (2004) and gold-certified A Little More Personal (Raw) (2005). Lohan dabbled in fashion, beginning a line of her own titled 6126 and briefly serving as artistic advisor for Emanuel Ungaro in 2009. Since 2016, she has opened several nightclubs and resorts in Greece.
Early life
Lindsay Lohan was born on July 2, 1986, in the Bronx borough of New York City, and grew up in Merrick and Cold Spring Harbor on Long Island, New York. She is the eldest child of Dina, and Michael Lohan. Her father, a former Wall Street trader, has been in trouble with the law on several occasions, while her mother is a former singer and dancer. Lohan has three younger siblings, all of whom have been models or actors: Michael Jr., who appeared with Lohan in The Parent Trap, Aliana, known as "Ali", and Dakota "Cody" Lohan. Lohan is of Irish and Italian heritage, and she was raised as a Roman Catholic. Her maternal antecedents were "well known Irish Catholic stalwarts" and her great-grandfather, John L. Sullivan, was a co-founder of the Pro-life Party on Long Island. She began home-schooling in grade 11. Lohan is a natural redhead.
Lohan's parents married in 1985, separated when Lindsay was three, and later reunited. They separated again in 2005 and finalized their divorce in 2007.
Career
1989–1999: Career beginnings
Lohan began her career as a child model with Ford Models at the age of three. She modeled for Calvin Klein Kids and Abercrombie, and appeared in over 60 television commercials for brands like Pizza Hut and Wendy's, as well as a Jell-O spot with Bill Cosby. By the age of 10, when Lohan played Alexandra "Alli" Fowler in the television soap opera Another World, Soap Opera Magazine said she was already considered a show-business veteran.
Lohan remained in her role on Another World for a year, before leaving to star in Disney's 1998 family comedy The Parent Trap, a remake of the 1961 movie. She played dual roles of twins, separated in infancy, who try to reunite their long-divorced parents, played by Dennis Quaid and Natasha Richardson. The film earned $92 million worldwide, and received largely positive reviews. Lohan received unanimous acclaim for her debut performance. Critic Kenneth Turan called Lohan "the soul of this film as much as Hayley Mills was of the original", going on to say that "she is more adept than her predecessor at creating two distinct personalities." The film won Lohan a Young Artist Award for best performance in a feature film as well as a three-film contract with Disney. At the age of 14, Lohan played Bette Midler's daughter in the pilot episode of the short-lived series Bette, but she resigned her role when the production moved from New York to Los Angeles.
2000–2003: Success with Disney films
Lohan starred in two made-for-TV movies: Life-Size alongside Tyra Banks in 2000, and Get a Clue in 2002. In 2003, Lohan starred alongside Jamie Lee Curtis in the 2003 remake of Disney's family comedy Freaky Friday, playing a mother and daughter who switch bodies and have to take on each other's roles. At Lohan's initiative, her character was rewritten and changed from a Goth style to be more mainstream. Her performance was once again met with significant praise. Critic Roger Ebert wrote that Lohan "has that Jodie Foster sort of seriousness and intent focus beneath her teenage persona." Freaky Friday earned Lohan the award for Breakthrough Performance at the 2004 MTV Movie Awards and, , it remained her most commercially successful film, earning $160 million worldwide as well as an 87 percent approval rating on Rotten Tomatoes.
Emilio Estefan and his wife, Gloria Estefan, signed Lohan to a five-album production deal in September 2002. Lohan landed the role as the daughter in Disney's remake, Freaky Friday, also that month, which required her to learn how to play the guitar and to sing. Lohan recorded a song for the film, "Ultimate", which was released to Radio Disney to help promote the film. The song peaked at number 18 on Radio Disney's Top 30. Lohan announced that the song was separate from her singing career since many teen idols such as Hilary Duff and Raven-Symoné were expanding their careers from acting to singing. In 2003, Lohan recorded four songs that were released for the soundtrack to Lohan's film, Confessions of a Teenage Drama Queen, including a Radio Disney hit, "Drama Queen (That Girl)."
She had begun working with Diane Warren and Randy Jackson, who were going to help write and produce her album. Diane Warren wrote the song "I Decide" for Lohan, which was originally going to be on her album. When Lohan decided not to collaborate with Warren and Jackson, "I Decide" was instead released on the soundtrack to the film The Princess Diaries 2: Royal Engagement and on to Radio Disney.
2004–2006: Status as teen idol and music releases
Lohan began writing the tracks on her album in April 2004. "I write a lot of lyrics and I'm involved in the producing process, because it's like, if I'm singing it, I want it to be something that I can relate to," Lohan said. "I'm just trying to feel it out and see where it goes. I'm playing guitar and
I also love to dance, so [the music will be] somewhere along the lines of hip-hop and rock."
Lohan's debut album, Speak, was released in the United States on December 7, 2004. The album was the first high-seller from Casablanca Records in several years, selling 1,000,000 units in the United States. The album received mostly negative reviews, with critics commenting that Lohan "isn't a bad singer, but not an extraordinary singer either." In the United States, the album peaked at number four on the Billboard 200, selling 261,762 copies in its first week. In Germany the album debuted at number 53 and took four weeks to complete its chart run. The first two singles from Speak, "Rumors" and "Over", were both successes, with "Over" topping the Bubbling Under Hot 100 Singles, where it stayed for three weeks. The song also did well internationally in countries such as Australia, Ireland, and the United Kingdom. "Rumors" peaked at number six on the Bubbling Under Hot 100 chart and also did well in Australia and Germany, where it reached number 14. The music video for "Rumors" was nominated for Best Pop Video at the 2005 MTV Video Music Awards. Both songs received heavy airplay on MTV's Total Request Live. The final single, "First", was released to help promote Lohan's film, Herbie: Fully Loaded. The song earned small success in Australia and Germany. Lohan promoted the album by performing the songs in a number of live appearances. A tour of Taiwan was planned, but later scrapped.
In 2004, Lohan had lead roles in two major motion pictures. The first film, Disney's teen comedy Confessions of a Teenage Drama Queen, earned a domestic box office total of $29 million, with Brandon Gray of Box Office Mojo commenting that it was "well above expectations as it was strictly for young girls." But the film was not met with critical acclaim. Robert K. Elder of the Chicago Tribune wrote that "though still a promising star, Lohan will have to do a little penance before she's forgiven for Confessions." Her second lead role that year, in the teen comedy Mean Girls, marked Lohan's first movie independent of Disney. The film was a critical and commercial success, grossing $129 million worldwide and, according to Brandon Gray, "cementing her status as the new teen movie queen." Mick LaSalle from the San Francisco Chronicle wrote that "Lohan is sensitive and appealing, a solid locus for audience sympathy." David Rooney from Variety said that "Lohan displays plenty of charm, verve and deft comic timing." Lohan received four awards at the 2004 Teen Choice Awards for Freaky Friday and Mean Girls, including Breakout Movie Star. Mean Girls also earned her two awards at the 2005 MTV Movie Awards. In 2021, The New Yorker critic Richard Brody placed Lohan's performance in Mean Girls at number eleven in his list of "The Best Movie Performances of the Century So Far".
With Mean Girls, Lohan's public profile was raised significantly. Vanity Fair described how she became a household name. Paparazzi began following her and her love life and partying became frequent targets of gossip sites and the tabloid media. Following the film, which was scripted by former "Not Ready for Prime Time Actress" Tina Fey and featured several other veterans of Saturday Night Lives "Not Ready for Prime Time Company", Lohan hosted the show three times between 2004 and 2006. In 2004, when Lohan was 17, she became the youngest host of the MTV Movie Awards and in 2006 she hosted the 2006 World Music Awards. Lohan returned to Disney in 2005, starring in the comedy Herbie: Fully Loaded, the fifth film in the series with the anthropomorphic Volkswagen Beetle Herbie. Fully Loaded earned $144 million worldwide, but it received mixed reviews. Stephen Holden of The New York Times called Lohan "a genuine star who ... seems completely at home on the screen", while James Berardinelli wrote that "as bright a starlet as she may be, Lohan ends up playing second fiddle to the car." In 2005, Lohan became the first person to have a My Scene celebrity doll released by Mattel. She also voiced herself in the animated direct-to-DVD film My Scene Goes Hollywood: The Movie, based on the series of dolls.
Lohan's second album, A Little More Personal (Raw), was released in December 2005. It peaked at number 20 on the Billboard 200 chart, and was eventually certified Gold. Lohan co-wrote most of the songs on the album, which received a mixed critical response. Slant Magazine called it "contrived ... for all the so-called weighty subject matter, there's not much meat on these bones." Lohan herself directed the music video for the album's only single, "Confessions of a Broken Heart (Daughter to Father)", which features her sister Aliana Lohan. The video is a dramatization of the pain Lohan said her family suffered at the hands of her father. It was her first song to chart on the Billboard Hot 100, peaking at number 57.
2006–2008: Interruptions and mature film roles
Lohan's next widely released film, the romantic comedy Just My Luck, opened in May 2006 and, according to Variety, earned her over $7 million. The opening weekend box office takings of $5.7 million "broke lead actress Lindsay Lohan's winning streak" according to Brandon Gray. The film received poor reviews and earned Lohan her first Golden Raspberry nomination for Worst Actress. Following Just My Luck, Lohan focused on smaller roles in more mature, independent movies. Robert Altman's ensemble comedy A Prairie Home Companion, based on humorist Garrison Keillor's works, in which Lohan co-stars with Meryl Streep and Lily Tomlin, had a limited release in June 2006. Peter Travers wrote for Rolling Stone that "Lohan rises to the occasion, delivering a rock-the-house version of 'Frankie and Johnny.'" Co-star Streep said of Lohan's acting: "She's in command of the art form" and "completely, visibly living in front of the camera." The Emilio Estevez ensemble drama Bobby, about the hours leading up to the Robert F. Kennedy assassination, was released in theaters in November 2006. Lohan received favorable comments for her performance, particularly a scene alongside Sharon Stone. As part of the Bobby ensemble cast, Lohan was nominated for a Screen Actors Guild Award.
Lohan's next appearance was in Chapter 27 as a John Lennon fan who befriends Mark David Chapman, played by Jared Leto, on the day he murders Lennon. Filming finished in early 2006, but the film was not released until March 2008 due to difficulties in finding a distributor. In May 2007, the drama Georgia Rule was released. In the film, Lohan portrays an out-of-control teenager whose mother (Felicity Huffman) brings her to the house of her own estranged mother (Jane Fonda). Owen Gleiberman of Entertainment Weekly wrote that "Lohan hits a true note of spiteful princess narcissism." During filming in 2006, Lohan was hospitalized, her representative saying "she was overheated and dehydrated." In a letter that was made public, studio executive James G. Robinson called Lohan "irresponsible and unprofessional." He mentioned "various late arrivals and absences from the set" and said that "we are well aware that your ongoing all night heavy partying is the real reason for your so-called 'exhaustion.'" In 2007, Lohan was cast in the film Poor Things, which she ultimately lost.
In early January 2007, production on the film I Know Who Killed Me was put on hold when Lohan underwent appendix surgery. While Lohan was in rehab, she continued shooting the film, returning to the facility at night. Shortly thereafter, Lohan withdrew from a film adaptation of Oscar Wilde's A Woman of No Importance, her publicist stating that Lohan needed to "focus on getting better." Lohan was replaced in The Edge of Love in April 2007, shortly before filming was to begin, with the director citing "insurance reasons" and Lohan later explaining that she "was going through a really bad time then."
In the wake of her second DUI arrest, Lohan withdrew from a scheduled appearance on The Tonight Show with Jay Leno in which she had been due to promote I Know Who Killed Me, a psychological horror-thriller in which she stars as a stripper with a dual personality. The film premiered in July 2007 to what Entertainment Weekly called "an abysmal $3.5 million." It earned Lohan dual Golden Raspberry awards for Worst Actress, with Lohan coming first and second, tying with herself. Hollywood executives and industry insiders commented that it would be difficult for Lohan to find employment until she could prove that she was sober and reliable, citing possible issues with securing insurance.
2008–2011: Continued delays
In May 2008, Lohan made her first screen appearance since I Know Who Killed Me, on ABC's television series Ugly Betty. She guest starred in four episodes as Kimmie Keegan, an old schoolmate of the protagonist Betty Suarez. In the comedy Labor Pains, Lohan plays a woman who pretends to be pregnant. During the shoot, Lohan's manager worked with the paparazzi to encourage the media to show her work, as opposed to partying. It was originally planned for a theatrical release, but instead appeared as a TV movie on the ABC Family cable channel in July 2009, "a setback for the star" according to Variety. The premiere received 2.1 million viewers, "better-than-average" for the channel according to E! Online. Alessandra Stanley of The New York Times wrote that "this is not a triumphant return of a prodigal child star. ... [Labor Pains] never shakes free of the heavy baggage Ms. Lohan brings to the role." Lohan was a guest judge on US TV style contest Project Runway sixth-season premiere episode, which aired in August 2009.
Lohan narrated and presented the British television documentary Lindsay Lohan's Indian Journey, about human trafficking in India. It was filmed during a week in India in December 2009, and transmitted on BBC Three in April 2010. The BBC was criticized for having hired Lohan, and while reviewers called the documentary compelling, they also found Lohan's presence to be odd and distracting. Lohan said: "I hope my presence in India will bring awareness to the really important issues raised in making this film." In April 2010, Lohan was let go from the film The Other Side where she had been set to star, with the director saying she was "not bankable."
Following a switch to Universal Motown, Lohan began working on a third album, tentatively titled Spirit in the Dark, in late 2007. In May 2008, the single "Bossy" was released onto digital outlets, and reached number one on the US Billboard Hot Dance Club Play chart.
The song was meant to serve as the lead single from the album. Later that year, Lohan said that work on the album had stalled and that she wanted to avoid the stress of working on movies and music at the same time.
In June 2010, Lohan was the subject of a fashion shoot in the photographer docu-series Double Exposure on Bravo. Robert Rodriguez's action exploitation film Machete opened in September 2010. In the film, Lohan's character takes drugs, is naked in much of her appearance, and later dons a nun's habit while toting a machine gun. Its critical reviews were mixed. The Washington Post described her character as "a campier, trampier version of herself – or at least her tabloid image." Premiere.com said she was "terrible" while Variety called it "her best work in some time." Because of her rehabilitation and legal engagements, Lohan did not participate in promotion of the movie. Lohan filmed a sketch where she is dressed as Marilyn Monroe for Inappropriate Comedy in 2010. The film had issues finding a distributor and was not released until 2013, when it was met with poor box office and critical reception. Lohan appeared on the October 2010 cover of Vanity Fair. She told the magazine: "I want my career back" and "I know that I'm a damn good actress."
2012–2017: Television work and stage debut
Lohan had not appeared on Saturday Night Live since 2006, when she hosted the show for the fourth time in March 2012. Her appearance received mixed to negative reviews. Critics appreciated the self-deprecating references to her personal troubles, but also commented that she largely played a supporting role. The episode had the second highest ratings of the season with 7.4 million viewers. In May 2012, Lohan appeared briefly, as a celebrity judge, on the television series Glee, in the episode "Nationals." Lohan stars as a surfer in the art film First Point by artist Richard Phillips. It debuted at Art Basel in June 2012 and features a score by Thomas Bangalter from Daft Punk. Comments from critics on Lohan's work were mixed. Lohan starred as Elizabeth Taylor in the biographical made-for-TV movie Liz & Dick, which premiered on the Lifetime cable channel in November 2012. Reviews of Lohan's performance were largely, but not unanimously, negative. The Hollywood Reporter said she was "woeful" while Variety called her "adequate." Entertainment Weekly described the premiere ratings of 3.5 millions as "a little soft." During the production, paramedics were called to Lohan's hotel room, treating her for exhaustion and dehydration. In April 2013, the horror comedy Scary Movie 5 was released, where Lohan appears as herself alongside Charlie Sheen in the opening sketch. While the movie itself was panned by critics, a few reviewers found Lohan's and Sheen's to be one of the better scenes. Lohan also guest-starred as herself in an April 2013 episode of Sheen's comedy series Anger Management.
In August 2013, just days after Lohan left rehab, The Canyons was released, an independent erotic thriller directed by Paul Schrader and written by Bret Easton Ellis. It was made on a low budget, most of which was gathered through online fund raiser Kickstarter. Lohan received $100 a day and a share of the profits, and she was also credited as a co-producer. The New York Times Magazine described Lohan as difficult to work with, and the shoot as fraught with conflict between Lohan and Schrader. Lohan and her co-star, adult-film actor James Deen, portray an actress and a producer in a volatile relationship. Reviews for the film were generally poor, but several critics praised Lohan's performance. The New Yorker said she was "overwrought and unfocused" while Variety called her "very affecting" and Salon described her as "almost incandescent." The same month Lohan filled in for Chelsea Handler as host of the cable talk show Chelsea Lately. She received mostly positive reviews for her appearance and the show garnered its best ratings of the year.
The 8-part docu-series Lindsay was transmitted in March and April 2014 on Oprah Winfrey's OWN cable network. The series followed Lohan's life and work as she moved to New York City after leaving rehab. In the final episode, Lohan said that she had had a miscarriage which had interrupted filming of the series. The premiere had 693,000 viewers, described as "so-so" by The Hollywood Reporter. The ratings then slipped and the finale only had 406,000 viewers. New York Daily News called the series "surprisingly routine", Variety described it as boring, while Liz Smith said it was "compelling" and "usually painful to watch." In December 2013, Lohan introduced Miley Cyrus before her set at Dick Clark's New Year's Rockin' Eve. In April 2014, Lohan guest-starred in an episode of the CBS sitcom 2 Broke Girls. Around this time, Lohan had also announced and began promoting a film she was set to star in titled Inconceivable, which was never produced for unknown reasons.
Lohan made her stage debut in October 2014, starring in the London West End production of David Mamet's Speed-the-Plow, a satire about the movie business. She portrayed Karen, the secretary of a Hollywood executive, in a role originally played by Madonna. Reviews of Lohan's performance were mixed, with the Associated Press describing critical reception overall as "lukewarm." The Stage said she was "out of her league" while The Times wrote that she "can act a bit" and The Guardian said she "holds the stage with ease."
In 2015, the English band Duran Duran announced that Lohan was featured on the song "Danceophobia" from their fourteenth studio album, Paper Gods.
2018–present: Return to music and acting comeback
In June 2015, Lohan filmed the supernatural thriller, Among the Shadows. The film saw a series of delays with its release and was eventually listed for sale at the European Film Market at the Berlin International Film Festival in February 2018. It was released on March 5, 2019, by Momentum Pictures.
In October 2016, Lohan opened her first nightclub, in collaboration with her ex-business partner Dennis Papageorgiou, named "Lohan Nightclub", in Athens, Greece.
In July 2018, the second season of Sick Note —in which Lohan has a recurring role— premiered on Sky One. In May 2018, she opened a resort on the Greek island Mykonos called "Lohan Beach House Mykonos" and later her second resort in Ialisos Beach, Rhodes, called "Lohan Beach House Rhodes." In July 2018, People magazine revealed that Lohan had signed on to star in an MTV reality series, Lindsay Lohan's Beach Club focusing on the Mykonos Beach House and her career and business ventures. The series premiered on January 8, 2019, on MTV. The show was canceled after one season. As of June 2019, the beach club is no longer open in Mykonos.
In July 2019, it was announced that Lohan will be one of the panelists on the Australian edition of Masked Singer. It was announced on October 10 that Lohan will return for season two of The Masked Singer. On July 7, 2020, it was revealed that Lohan would be unable to return to the judging panel in the second season, as she could not travel from Dubai to Melbourne because of the COVID-19 pandemic and the implementation of travel restrictions. She was replaced for season 2 by new panelist, comedian Urzila Carlson.
In June 2019, Page Six reported that Lohan had re-signed with Casablanca Records to record and release her third studio album, along with "a couple of soundtracks." In July, Lohan confirmed signing a joint deal with Casablanca and Republic Records. In August 2019, a snippet of a song titled "Xanax" was premiered by radio host Kris Fade on Virgin Radio Dubai. Lohan then teased her song again in late-December, announcing in January that her first album in 15 years would be released at the end of February.
On April 1, 2020, Lohan announced her album's lead single, "Back to Me." The song was released on April 3 and received positive reviews from critics.
Lohan has announced several upcoming films including one titled Frame, which she is set to star in, as well an untitled film based on the book Honeymoon, which Lohan is writing the script for. During her appearance on CNN's 2019 New Year's Eve special, Lohan announced she would be coming back to the United States for a Hollywood comeback. Lohan also announced that she is managing her younger sister Ali's music career.
In March 2021, Lohan auctioned a single called Lullaby. In May 2021, Netflix announced that Lohan was set to star in Falling for Christmas, a Christmas romantic comedy about a woman who suffers amnesia following a skiing accident and finds herself in the care of a blue-collar lodge owner. The film began filming in November 2021, and is to be directed and co-written by Janeen Damian, with a release date set for late 2022.
Other ventures
Fashion and modeling
Lohan has been the face of Jill Stuart, Miu Miu, and, as well as the 2008 Visa Swap British fashion campaign. She was also the face of Italian clothing company Fornarina for its Spring–Summer 2009 campaign. Lohan has a long-lasting fascination with Marilyn Monroe going back to when she saw Niagara during The Parent Trap shoot. In the 2008 Spring Fashion edition of New York magazine, Lohan re-created Monroe's final photo shoot, known as The Last Sitting, including nudity, saying that the photo shoot was "an honor." The New York Times critic Ginia Bellafante found it disturbing, saying "the pictures ask viewers to engage in a kind of mock necrophilia. ... [and] the photographs bear none of Monroe's fragility."
In 2008, Lohan launched a clothes line, whose name 6126 was designed to represent Monroe's birth date (June 1, 1926). The line started with leggings, before expanding to a full collection, covering 280 pieces . In January 2009, Lohan appeared as a guest judge on Project Runway. In September 2009, Lohan became an artistic adviser for the French fashion house Emanuel Ungaro. A collection by designer Estrella Archs with Lohan as adviser was presented in October, receiving a "disastrous" reception, according to Entertainment Weekly and New York. Lohan left the company in March 2010. Lohan appeared in the January–February 2012 issue of Playboy magazine, in a shoot inspired by a nude pictorial of Marilyn Monroe from the first issue of the magazine. Editor Hugh Hefner said Lohan's issue was "breaking sales records."
In early 2018, Lohan announced plans on developing a makeup brand separate from her fashion brand and stated that it was still in its early stages of development.
Apps
In December 2014, the free-to-play video game app Lindsay Lohan's The Price of Fame was released for the iOS and Android operating systems. Polygon said it was "funny, trashy and surprisingly self-aware" while Vulture called it "a crappy knockoff of Kim Kardashian: Hollywood."
In June 2017, Lohan announced she was starting a lifestyle site called Preemium, which subscribers could access for $2.99 a month.
In October 2021, Lohan announced that she would be hosting a podcast through Studio 71.
Personal life
Lohan began dating actor Wilmer Valderrama in 2004, Hard Rock Cafe heir Harry Morton in 2006, and DJ Samantha Ronson in 2008 and 2009. In April 2009, following her breakup with Ronson, Lohan appeared in a dating video spoof on the comedy website Funny or Die. It was viewed 2.7 million times in the first week and received favorable comments from the media. In 2016, Lohan was engaged to London-based Russian millionaire Egor Tarabasov, owner of the real estate agency Home House Estates and son of Dmitry Tarabasov. They reportedly split up in mid-2017, with Lohan accusing Tarabasov of abuse and him accusing her of stealing £24,000 worth of his belongings. On November 28, 2021, Lohan announced her engagement to financier Bader Shammas after three years of dating.
Lohan spoke about her turbulent childhood in 2007, the same year her parents finalized their divorce: "I feel like a second parent in the sense that I helped raise my family ... I was put between my mother and father a lot." Despite the conflicts, Lohan spoke very fondly of her family. However, in 2007, 2008, and 2009 she admitted that she had cut off contact with her father, describing his behavior as unpredictable and hard to deal with.
Filmography
After beginning her acting career as a child actor in the early 1990s, Lohan, at age 11, made her film debut in Disney's successful remake of The Parent Trap (1998). Freaky Friday (2003) remains her highest-grossing film, while Mean Girls (2004), both a critical and commercial success, became a cult classic. Her career faced many interruptions from legal and personal troubles during the late 2000s and early 2010s, but she has still appeared in 26 films (including 6 as a personality), 12 television appearances, 1 play and 5 music videos. Her films include:
Discography
Speak (2004)
A Little More Personal (Raw) (2005)
See also
List of awards and nominations received by Lindsay Lohan
List of artists who reached number one on the U.S. Dance Club Songs chart
References
Notes
Cited works
External links
1986 births
20th-century American actresses
21st-century American actresses
21st-century American singers
21st-century American women singers
Actresses from New York (state)
American child actresses
American child singers
American documentary filmmakers
American expatriate actresses in the United Kingdom
American expatriates in the United Arab Emirates
American women pop singers
American film actresses
American people convicted of theft
American people of Irish descent
American people of Italian descent
American prisoners and detainees
American soap opera actresses
American television actresses
Child pop musicians
Cold Spring Harbor Jr./Sr. High School alumni
Golden Raspberry Award winners
Living people
Lohan family
Motown artists
People from Cold Spring Harbor, New York
People from Merrick, New York
People from the Bronx
Singers from New York (state)
Universal Records artists
Women documentary filmmakers
| false |
[
"American actress and singer Lindsay Lohan has led a high-profile life since her youth as a child model and actress. Following commercial success and critical recognition, Lohan secured her status as a teen idol and received intensive media attention. Following a slew of legal problems and arrests, Lohan received media scrutiny. Her legal problems continued until 2015, the first time she had been probation-free in over eight years. Alongside her legal problems and addiction issues, including her multiple court-mandated rehabilitation stints, her turbulent family life and personal relationships have also been highly publicized and documented.\n\nEarly life\n\nFamily and childhood\nLohan's father, Michael, served jail time in a stock fraud case when Lohan was four years old, and has been arrested almost a dozen times. Lohan spoke about her turbulent childhood in 2007, the same year her parents finalized their divorce: \"I feel like a second parent in the sense that I helped raise my family... I was put between my mother and father a lot.\" Despite the conflicts, Lohan spoke very fondly of her family. However, in 2007, 2008, and 2009 she admitted that she had cut off contact with her father, describing his behavior as unpredictable and hard to deal with.\n\nAfter a fight with her mother, Dina, in 2012, Lohan had called her father in a frantic episode, insisting that her mother was on cocaine like \"a crazy person\", according to her. Her father evidently recorded the call and released it to the tabloids. The tape subsequently went viral and gained mass media attention.\n\nWhile filming the 2013 film, The Canyons, Lohan filmed a scene with co-star James Deen which depicted the actress being assaulted by Deen. It ended with Lohan sobbing on the ground. When later complimented on her acting in the scene she responded that, \"I've got a lot of experience with that from my dad\".\n\nTeenage years\nLohan said that her first problems arose when she moved to California by herself at 15. In her interview with Oprah in 2013, Lohan speaks of her lack of financial guidance and how her early legal problems left her unfazed as she was so deep into her tendencies as an addict. In the same interview, Lohan admitted it took a period of time before she could admit to herself that she had a problem.\n\nUpon moving to Los Angeles, Lohan briefly lived with fellow Disney star Raven-Symoné, though Symoné said Lohan had been at the apartment very little, claiming she had only been there three times. Following Mean Girls, Lohan spent several years living out of hotels in Los Angeles, of which two years were spent at the Chateau Marmont. In late 2007, after settling down in a more permanent residence, she explained that she \"didn't want to be alone\" but that \"it wasn't a way of life ... not very consistent.\" She had a series of car accidents that were widely reported, in August 2004, October 2005 and November 2006, when she suffered minor injuries because a paparazzi who was following her for a photograph hit her car. During her time working in Los Angeles, Lohan had suffered from bulimia nervosa.\n\nPersonal interests\nLohan has mentioned her interest in writing an autobiography several times, stating in 2018 that she planned to release one in the near-future. Her original reason for writing a book was for her to tell her clear truth due to half-truth tabloid articles and her mother Dina writing a tell-all of her own.\n\nReligion\nLohan was raised Catholic. In April 2016, Lohan was studying Islam and considered converting. Lohan was spotted publicly with a headscarf and holding a Quran, resulting in media coverage questioning her faith.\nFollowing an incident in an airport in February 2017 when Lohan was asked to take off her headscarf while going through security, Lohan publicly claimed to have been \"racially profiled\". Moreover, she wrote \"Salam Aleikum\", a religious salutation among Muslims, in her Instagram biography.\n\nIn January 2019, Lohan said in an interview that she meditates three times a day.\n\nLanguages\nLohan claims to be fluent in French and able to understand Russian. She says she is studying Italian, Arabic, and Turkish.\n\nResidence\nAfter growing up in Long Island, New York, with her family, and her subsequent move by herself to Los Angeles at age 15, Lohan has resided in Dubai since 2016. She has explained her decision by saying: \"There's a certain calmness that I find there... There's no paparazzi, no cameras. That's a big deal for me.\" She briefly returned to New York in 2014 after checking out of rehab, and also lived in London between 2014 and 2016, after she signed on to do a stage play in the West End, Speed-the-Plow, and to escape the intense public attention she had been receiving while in the United States. She mentioned at the time: \"I can go for a run here [London] on my own. … I do every morning, early, and I think how my friends in New York would still be up partying at that time. I needed to grow up, and London is a better place for me to do that than anywhere else\", then she added, \"I haven't heard myself mentioned on TV since I have been here. That has been really weird for me, and great\".\n\nSocial and political views\nIn October 2016 and January 2017, Lohan went to Turkey to visit the Syrian refugee camps, and to meet the Turkish President Recep Tayyip Erdoğan, and a Syrian refugee girl, Bana al-Abed.\n\nIn October 2017, Lohan received scrutiny for defending Harvey Weinstein, whom she worked with on several films, on Instagram and saying that his wife Georgina Chapman should stay with him. Weinstein had been accused of sexual harassment and sexual assault. Lohan later clarified stating, \"I am saddened to hear about the allegations against my former colleague Harvey Weinstein. As someone who has lived their life in the public eye, I feel that allegations should always be made to the authorities and not played out in the media.\"\n\nIn September 2018, Lohan garnered controversy and scrutiny after she livestreamed herself attempting to lead away a homeless woman's children on Instagram Live. In the video, she accuses the woman of child trafficking and dubs the family \"Syrian refugee[s]\". The situation has been regarded as an attempted kidnapping, and suspicions have arisen that Lohan was intoxicated.\n\nPolitical interests\nDuring the 2008 US presidential campaign, Lohan offered her services to Barack Obama's Democratic election effort, but was declined. In a blog post, Lohan criticized the media and then Republican Vice Presidential candidate Sarah Palin for not focusing on policy, and denounced Palin's positions on homosexuality, birth control and abortion. Lohan had previously expressed an interest in going to Iraq, during the Iraq War in 2006, on a USO tour with Hillary Clinton. In the 2012 presidential election, Lohan supported Republican candidate Mitt Romney, something that prompted ABC News to call her a \"political turncoat\". Only weeks later, she tweeted words supportive of Obama.\n\nFollowing her criticism of several of the pressing matters involving Brexit, Lohan had gained support for her political views due to her unexpected attentiveness and passionate beliefs about the matter.\n\nRelationships\nLohan began dating actor Wilmer Valderrama in 2004. She also guest-starred in an episode of That '70s Show, where Valderrama was a regular. After their break up, Lohan wrote her song, \"Over\", about the experience. She dated Hard Rock Cafe heir Harry Morton in 2006. Lohan then started a relationship with DJ Samantha Ronson in 2008. She co-hosted club events with Ronson and accompanied her when she was DJing. In April 2009, following her break up with Ronson, Lohan appeared in a dating video spoof on the comedy website Funny or Die. It was viewed 2.7 million times in the first week and received favorable comments from the media.\n\nIn 2016, it was revealed Lohan was engaged to London-based Russian business heir Egor Tarabasov after they had started dating in the previous year. The engagement was called off shortly after they were photographed in a physical altercation on a beach in Mykonos, and a video surfaced of Lohan accusing him of abuse in their London apartment in July 2016. \n\nOn November 28, 2021, Lohan announced her engagement to financier Bader Shammas after three years of dating.\n\nFriendships\nSince the 2000s, Lohan has had a series of love-hate friendships with a few celebrities, dubbed by the media as her \"frenemies\". The most notable example being her relationship with socialite and reality television personality Paris Hilton. The duo dissed one another in the media but would eventually make amends until 2013, when Hilton's younger brother Barron accused Lohan of having club owner Ray LeMoine beat him up during the Art Basel festival in Miami, with Hilton quickly responding in his defense on social media. LeMoine would later clarify and state Lohan had been unconnected to the episode, and no charges were ever filed against him. Upon being asked about the incident on the 2014 docuseries Lindsay, Lohan distanced herself from the situation saying she \"did not have any part in it.\" Early in her teenage career, Lohan had a high-profile feud with fellow Disney star Hilary Duff, after both seemingly dated Aaron Carter around the same time. They were often brought up in each other's interviews, and Lohan parodied the feud while hosting a 2004 episode of Saturday Night Live. By early 2007, the conflict was over as the two were hanging out together and Lohan supported Duff's album release. In 2013, her Confessions of a Teenage Drama Queen co-star Megan Fox mentioned Lohan when she commented on Marilyn Monroe, saying: \"She [Monroe] wasn't powerful at the time. She was sort of like Lindsay. She was an actress who wasn't reliable, who almost wasn't insurable... She had all the potential in the world, and it was squandered\". Fox later explained her comments: \"I attempted to draw parallels between Lindsay and Marilyn in order to illustrate my point that while Marilyn may be an icon now, sadly she was not respected and taken seriously while she was still living\", then she added, \"I intended for this to be a factual comparison of two women with similar experiences in Hollywood. Unfortunately it turned into me offering up what is really much more of an uneducated opinion. It was most definitely not my intention to criticize or degrade Lindsay.\"\n\nSexuality\nSpeaking about her sexual orientation, Lohan said that she was not a lesbian. When asked if she was bisexual in 2008, she responded \"Maybe. Yeah,\" adding, \"I don't want to classify myself.\" However, in a 2013 interview, she said, \"I know I'm straight. I have made out with girls before, and I had a relationship with a girl. But I think I needed to experience that and I think I was looking for something different.\"\n\nSubstance abuse\nBy the age of 21, Lohan started to attend Alcoholics Anonymous meetings, and had become a prominent fixture of the Los Angeles late-night scene, where alcohol and other drugs were often present and on hand for her. By 2007, her lifestyle had \"caught up\" with her, she once noted, as she started to receive more attention for her late-night persona than for her film work, and faced the beginning of what would be a long series of run-ins with the law. She described herself as an \"addict\" in her 2014 interview with Oprah, stating that alcohol was a gateway drug to other things for her. She also admitted to using cocaine \"10 to 15 times\", explaining that it \"allowed [her] to drink more\".\n\nHer January 2007 admittance into a rehab center marked the first of six court-ordered rehab stints in a span of six years; she had spent over 250 days in rehabilitation by 2014. In January 2007, Lohan admitted herself to the Wonderland Center rehabilitation facility for a 30-day stay. In May, she entered the Promises Treatment Center rehabilitation facility where she stayed for 45 days. In July, she entered the Cirque Lodge Treatment Center in Sundance, Utah for a third stint at rehabilitation in the year, staying for three months until her discharge in October. In August 2010, Lohan entered an inpatient rehabilitation facility, from where she was released after only 23 days, and in October, she entered the Betty Ford Center, a drug and alcohol treatment center, where she remained on court order for three months until early January 2011. Between May and July 2013, Lohan spent 90 days in rehabilitation at the Cliffside Malibu treatment facility.\n\nLegal issues\n\nIn May 2007, Lohan was arrested on a charge of driving under the influence of alcohol (DUI). In July, less than two weeks out of rehab, Lohan was arrested a second time on charges of possession of cocaine, driving under the influence and driving with a suspended license. In August, Lohan pleaded guilty to misdemeanor cocaine use and driving under the influence and was sentenced to an alcohol education program, community service, one day in jail, and was given three years probation. Lohan released a statement in which she said \"it is clear to me that my life has become completely unmanageable because I am addicted to alcohol and drugs.\" In November, Lohan served 84 minutes in jail. A sheriff spokesman cited overcrowding and the nonviolent nature of the crime as reasons for the reduced sentence.\n\nIn October 2009, Lohan's DUI probation was extended by an additional year, following several instances in which she failed to attend the court-ordered substance abuse treatment classes. In May 2010, Lohan traveled to the Cannes Film Festival to promote the biographical drama Inferno. She was set to star as the lead, adult-film performer Linda Lovelace, but was later replaced while in court mandated rehab. Because she was in Cannes, Lohan missed a mandatory DUI progress hearing. A bench warrant was issued for her arrest which was rescinded after she posted bail. A judge determined that Lohan had violated the terms of her probation by missing several mandatory classes and meetings. She was sentenced to 90 days in jail, followed by 90 days of inpatient rehab treatment. However, Lohan served only 14 days of the jail sentence, due to overcrowding. Lohan later said that she had subconsciously wanted to go to jail amidst her struggles with addiction, in hopes of finding a place \"to just sit\" and \"be at peace\".\n\nIn September 2010, Lohan's probation was revoked following a failed drug test. She spent part of the day in jail before being released on bail. In February 2011, Lohan was charged with the theft of a necklace reported stolen from a jewelry store the month before. She was sentenced to community service and 120 days in jail for misdemeanor theft and probation violation, to which she pleaded no contest. Due to jail overcrowding, Lohan served the sentence under house confinement, wearing a tracking ankle monitor for 35 days. In November, Lohan was found to have violated the terms of her probation by failing to perform the required community service. She was sentenced to additional community service and 30 days in jail, of which she served less than 5 hours due to overcrowding.\n \nOn her way to the Liz & Dick set in June 2012, Lohan was in a car accident, where she sustained minor injuries and which caused a delay in production. In March 2013, Lohan pleaded no contest to misdemeanor charges stemming from the June 2012 car accident; reckless driving and providing false information to a police officer. She was sentenced to community service, psychotherapy and lockdown rehabilitation. Her probation was also extended until May 2015, when a judge ended it after she completed the community service making it the first time in nearly 8 years that she was probation free.\n\nBling Ring\nIn 2009, Lohan's home was burgled by the Bling Ring, a group of fashion-motivated burglars whose ringleader considered Lohan to be their ultimate conquest. Video surveillance of the burglary recorded at Lohan's home played a large role in breaking the case. Even though by August 2009 Rachel Lee had moved into her father's place in Las Vegas, she felt compelled to return to California for yet another burglary, the target being Lohan, who was apparently Lee's \"ultimate fashion icon\" and \"biggest conquest\". On the 23rd, Lee, Nick Prugo, and Diana Tamayo allegedly stole around $130,000 worth of clothes and jewelry from Lohan's home in Hollywood Hills. According to Prugo, Tamayo and Lee were \"freaking out\" over Lohan's things. By that time, they were well-publicized criminals at large, and Prugo was especially worried about the burglary, knowing that if they were captured by surveillance cameras stealing from the star's home, the footage would be widely seen. Lohan was briefly incarcerated in a cell next to Alexis Neiers, a member of the Bling Ring.\n\nThe case was covered in the biopic The Bling Ring by Sofia Coppola. Archive footage in the film featured Lohan during the trials. Lohan referenced the burglars in the pilot of her OWN series, Lindsay (2014).\n\nReferences\n\nLindsay Lohan\nLohan, Lindsay",
"Lindsay Lohan's Beach Club is an American reality television series that ran from January 8 to March 25, 2019 on MTV, starring American actress and businesswoman, Lindsay Lohan. The series follows Lohan as she expands her business empire and manages her beach club in Mykonos, Greece, with partner, Panos Spentzos, and focuses on the lives of the staff at the club, who were flown from America for a summer and work to remain ambassadors for the Lohan brand. It received mixed reception, with most criticism centering around Lohan's lack of screen time, which had been a deliberate decision by Lohan, as she disclosed during the promotional press tour for the series. In June 2019, it was reported that the show would not be returning for a second season.\n\nBackground\nIn October 2016, Lohan opened her first nightclub, in collaboration with her business partner Dennis Papageorgiou, named Lohan Nightclub, in Athens, Greece. In May 2018, she opened a club on the Greek island Mykonos called Lohan Beach House Mykonos and later her second beach club on Ialysos Beach, Rhodes, called Lohan Beach House Rhodes. In July 2018, it was revealed Lohan and MTV were producing a \"Vanderpump Rules-style\" reality series set at Lohan Beach House Mykonos. Later that month, MTV released a first look at the series. The diurnal club, located at the Kalo Livadi beach, was curated by Lohan after previously licensing her name to the Lohan brand, stating: \"There's a business side to my life now, but I'm not in America, so no one knows about it, which is nice for me.\" \"I really wanted to make it a family-style beach. A place where people can go with their kids and feel safe,\" she elaborated on the venture. She also recalled a highly publicized domestic abuse incident she suffered on a Mykonos beach as the catalyst, \"The last thing I was going to do was keep that memory [and] not make something better of it; so that's why I decided to take over the beach.\" During an interview with The Times in August 2018, Lohan's partner in the Beach House business, Panagiotis Spentzos, stated her name was responsible for the brand's success in Europe and the Middle East. In early September 2018, a clip of Lohan dancing during production of the show filmed by a bystander and shared online went viral under the hashtag #DoTheLilo, inspiring replica dances, memes and fan art. Lohan explained she agreed to do the show because, unlike with her previous Lindsay docuseries, she would now be directing, \"I'm the boss.\"\n\nDevelopment and promotion\nIn December 2018, MTV announced Lindsay Lohan's Beach Club would be premiering in the United States on January 8, 2019, and would roll out globally across Viacom's international network of MTV channels in nearly 180 countries. A trailer was also released along with the show's premise which would allow viewers \"to see a new side of Lohan as she calls the shots with her handpicked team of young and ambitious VIP hosts who will have to do whatever it takes to secure Lohan's name as the definition of vacation luxury.\" A sneak peek of the series, \"Lindsay Lohan: Welcome to the Beach Club,\" giving viewers an introduction to the cast, who were flown in to work at the club from America for a summer, aired on January 1, 2019, on MTV. While talking about the show, Lohan said: \"We were all very clear that it wasn't going to be a Lindsay Lohan follow-her-every-second kind of show. It was going to be me running a business. It's different because I'm writing the script, in a sense,\" continuing, \"I have nothing to hide. What's left in saying that I've gone to a club? Now I own them.\" The cast attended a premiere party in New York City on January 7. After the premiere episode, the network aired an after-show with Lohan and hosted by her Mean Girls co-star Jonathan Bennett. A special titled \"Growing Up Lohan\" documenting Lohan's career and past MTV appearances, hosted by her siblings Aliana and Dakota, premiered on MTV on January 12, 2019.\n\nNina L. Diaz, MTV's president of programming and development, explained the show came about after a talent executive read that Lohan was opening the beach club in Mykonos and immediately brought it to MTV executives, \"MTV called to find out if she'd consider and the response came back so positive. [...] That call happened in May and we were shooting by summer.\" Diaz stated that Lohan was heavily involved in the creative process of developing the series, \"Twenty-four-seven, she wanted to know what was happening with them — if there was a conflict or issues — she wanted to be kept abreast and she would come down to the house to talk about something.\" Lohan, the beach club staff and production team, Bunim/Murray, were all living in villas next to each other during the filming throughout the summer of 2018.\n\nFuture\nAs of June 2019, Lohan had decided to sell the property to cash in on the investment and the beach club in Mykonos was closed. MTV had reportedly been \"trying to make something work\" for a second season, but Lohan was not interested at the time. The beach club was relocated to Alimos for the 2019 summer season under the name Lohan Seaside, closer to Lohan Nightclub in Athens so they could alternate seasonally, as a message on its official website informed. In a statement to Newsday, Lohan said: \"The show was moving into a new direction. Perhaps not enough drama in my life for [a] reality-TV formula (as that's not where I am in my life). As for the club, we are simply moving the focus to a brand-new and exciting location in Athens, and also a new location and partnership to be announced in Mykonos.\"\n\nLohan Seaside was then featured on the twelfth season of The Real Housewives of Atlanta with Panos Spentzos making an appearance. In April 2020, Lohan was asked about the status of the series and her clubs, replying: \"When we did that show it was really good to tie in with the opening of the beach, we still have two [clubs] in Athens and we've been discussing what's gonna go on in Mykonos... now is not really the time to talk about it [due to COVID-19]. But we'll see, I still do have my Lohan clubs, and I still do want to open more [...] so there's all that in discussion.\" The Lohan Beach House Mykonos reopened for the 2020 summer season on July 1, 2020, according to its official website and social media activity, while respecting COVID-19 prevention measures.\n\nCast\n Lindsay Lohan\n Panos Spentzos\n\nAmbassadors\n Gabi Andrews\n Billy Estevez\n Brent Marks\n Aristotle Polites\n Sara Tariq\n Jonitta Wallace\n Mike Mulderrig\n Jules Wilson\n May Yassine\n Alex Moffitt\n Kailah Casillas\n Kyle Marvé\n\nCast notes\n\nCast duration\n\nNotes\n Key: = Ambassador arrives.\n Key: = Ambassador is featured in this episode.\n Key: = Ambassador is fired.\n Key: = Ambassador is re-hired.\n Key: = Ambassador is selected to officially join the Lohan brand.\n\nEpisodes\n\nReception\n\nRatings\nLindsay Lohan's Beach Club'''s premiere ranked as one of the top five new cable shows of the 2018–19 season among young adults and was considered \"another win for MTV\" by Billboard. According to Nielsen, the launch delivered triple digit growth across MTV's key demos. MTV also saw substantial increases for the series viewership with delayed viewing. By the final episode, the rating was considered \"steady\".\n\nCritical response\nThe series received mixed to negative reviews from critics. On the review aggregator website Rotten Tomatoes, it has an approval rating of 27% based on 15 reviews, with an average rating of 4.5/10. The website's critical consensus reads, \"Lindsay Lohan's Beach Club lacks the trashy joie de vivre of similar reality shows in large part because of the titular character's lack of screen time.\" Metacritic, which uses a weighted average, assigned a score of 45 out of 100 based on 6 critics, indicating \"mixed or average reviews\". Daniel D'Addario of Variety stated that the \"new MTV reality series Lindsay Lohan’s Beach Club is an accidental success\" as the focus on the lives of the staff \"falls flat\" but, \"as a psychological portrait of the paparazzi magnet-turned-aspiring hospitality magnate Lohan, it’s juicily riveting.\" Writing for The Hollywood Reporter, Robyn Bahr claimed the series is \"visually ugly, the fuzzy camera unable to capture the lusciousness of the seaside or the tranquility of Mediterranean architecture,\" and that \"Lohan, at least, comes off as emotionally intelligent with her staff, her deep, flinty voice and confident HBIC aura a welcome break from the participants' acrid attention-seeking.\" \n\nWilla Paskin of Slate considered the series \"halfhearted\" due to Lohan trying to star in a reality TV show \"without touching the thing with a 10-foot pole,\" continuing, \"Lohan is the series' title character, but she is not the protagonist. [...] The most interesting thing about Beach House is the extent to which Lohan's tabloid past is treated as though it were actually a reality show, the equivalent of Lisa Vanderpump's Real Housewives.\" Verne Gay from Newsday also described it as \"the Real Housewives meets Temptation Island\" with an \"unexpected, and welcome, twist — Lohan is more or less the mature presence.\" The Daily Beast's Amy Zimmerman commented it's \"great on paper, but in practice, the show faces a number of insurmountable obstacles that make it almost unwatchable,\" echoing most critics displeasure for the lack of focus on Lohan, \"First and foremost: This Lindsay Lohan show is barely about Lindsay Lohan. [...] Without its supposed star, all that remains is a reality TV show that barely bothers to have a premise.\" Decider's Lea Palmieri said: \"Watching [Lohan] in a position of authority, while it's the others that hustle and grovel around her, feels triumphant,\" concluding, \"Many will write off Lindsay Lohan's Beach Club'' as trashy reality show, and others will wisely accept and appreciate it for that fact.\"\n\nAccolades\n\nReferences\n\nExternal links\n\nLohan Beach House Mykonos\n\n2010s American reality television series\n2019 American television series debuts\n2019 American television series endings\nLindsay Lohan\nMTV reality television series\nMykonos\nTelevision shows set in Greece\nTelevision series based on singers and musicians\nTelevision series by Bunim/Murray Productions"
] |
[
"Lindsay Lohan",
"2005-08: Continued success and legal troubles",
"Did Lindsay Lohan ever go to jail?",
"I don't know."
] |
C_2a6bbe85d9ac4ceb9b281ff28685e7ca_0
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What crimes did she commit?
| 2 |
What crimes did Lindsay Lohan commit?
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Lindsay Lohan
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Lohan returned to Disney in 2005, starring in the comedy Herbie: Fully Loaded, the fifth film in the series with the anthropomorphic car Herbie. Fully Loaded earned $144 million worldwide, but it received mixed reviews. Stephen Holden of The New York Times called Lohan "a genuine star who ... seems completely at home on the screen", while James Berardinelli wrote that "as bright a starlet as she may be, Lohan ends up playing second fiddle to the car." While shooting the film in 2004, Lohan was hospitalized with a kidney infection brought on by stress in her personal life and from recording her first album while the film was in production, prompting Vanity Fair to label it Lohan's "first disastrous shoot." She also guest-starred in an episode of That '70s Show, of whose cast Wilmer Valderrama, her boyfriend at the time, was a regular member. According to Vanity Fair, the breakup with Valderrama contributed to Lohan's issues during the Herbie shoot. In 2005, Lohan became the first person to have a My Scene celebrity doll released by Mattel. She also voiced herself in the animated direct-to-DVD film My Scene Goes Hollywood: The Movie, based on the series of dolls. Following Mean Girls, Lohan spent several years living out of hotels in Los Angeles, of which two years were spent at the infamous Chateau Marmont, where comedy actor John Belushi had died. In late 2007, after settling down in a more permanent residence, she explained that she "didn't want to be alone" but that "it wasn't a way of life ... not very consistent." She had a series of car accidents that were widely reported, in August 2004, October 2005, and November 2006, when she suffered minor injuries because a paparazzo who was following her for a photograph hit her car. Lohan's next widely released film, the romantic comedy Just My Luck, opened in May 2006 and, according to Variety, earned her over $7 million. The opening weekend box office takings of $5.7 million "broke lead actress Lindsay Lohan's winning streak" according to Brandon Gray. The film received poor reviews and earned Lohan her first Golden Raspberry nomination for Worst Actress. Following Just My Luck, Lohan focused on smaller roles in more mature, independent movies. Robert Altman's ensemble comedy A Prairie Home Companion, based on humorist Garrison Keillor's works, in which Lohan co-stars with Meryl Streep and Lily Tomlin, had a limited release in June 2006. Peter Travers wrote for Rolling Stone that "Lohan rises to the occasion, delivering a rock-the-house version of 'Frankie and Johnny.'" Co-star Streep said of Lohan's acting: "She's in command of the art form" and "completely, visibly living in front of the camera." The Emilio Estevez ensemble drama Bobby, about the hours leading up to the Robert F. Kennedy assassination, was released in theaters in November 2006. Lohan received favorable comments for her performance, particularly a scene alongside Sharon Stone. As part of the Bobby ensemble cast, Lohan was nominated for a Screen Actors Guild Award. In 2006, Lohan attended Alcoholics Anonymous meetings. CANNOTANSWER
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CANNOTANSWER
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Lindsay Dee Lohan (; born July 2, 1986) is an American actress, singer, songwriter, producer, entrepreneur, and former model. Born and raised in New York City, Lohan was signed to Ford Models at the age of three. Having appeared as a regular on the television soap opera Another World at age 10, her breakthrough came in the Walt Disney Pictures film The Parent Trap (1998). The film's success led to appearances in the television films Life-Size (2000) and Get a Clue (2002), and the big-screen productions Freaky Friday (2003) and Confessions of a Teenage Drama Queen (2004).
Lohan's early work won her childhood stardom, while the teen comedy sleeper hit Mean Girls (2004) affirmed her status as a teen idol. After starring in the sports comedy film Herbie: Fully Loaded (2005), Lohan quickly became the subject of intense media coverage due to a series of personal struggles and legal troubles, as well as a number of stints in rehabilitation facilities due to substance abuse. This period saw her lose several roles and had significantly impacted her career and public image negatively. Thereafter, she appeared in films, such as A Prairie Home Companion (2006), Just My Luck (2006), Bobby (2006), Chapter 27 (2007), Machete (2010), Liz & Dick (2012), and The Canyons (2013).
Lohan then appeared on various television shows, including the docu-series Lindsay (2014), the British comedy series Sick Note (2018), the MTV reality show Lindsay Lohan's Beach Club (2019), and the musical competition show The Masked Singer Australia (2019) in which she served as a judge. She also made her stage debut in the London West End production of Speed-the-Plow (2014–2015).
Lohan rose to prominence in the music industry under Casablanca Records, releasing two studio albums, the platinum-certified Speak (2004) and gold-certified A Little More Personal (Raw) (2005). Lohan dabbled in fashion, beginning a line of her own titled 6126 and briefly serving as artistic advisor for Emanuel Ungaro in 2009. Since 2016, she has opened several nightclubs and resorts in Greece.
Early life
Lindsay Lohan was born on July 2, 1986, in the Bronx borough of New York City, and grew up in Merrick and Cold Spring Harbor on Long Island, New York. She is the eldest child of Dina, and Michael Lohan. Her father, a former Wall Street trader, has been in trouble with the law on several occasions, while her mother is a former singer and dancer. Lohan has three younger siblings, all of whom have been models or actors: Michael Jr., who appeared with Lohan in The Parent Trap, Aliana, known as "Ali", and Dakota "Cody" Lohan. Lohan is of Irish and Italian heritage, and she was raised as a Roman Catholic. Her maternal antecedents were "well known Irish Catholic stalwarts" and her great-grandfather, John L. Sullivan, was a co-founder of the Pro-life Party on Long Island. She began home-schooling in grade 11. Lohan is a natural redhead.
Lohan's parents married in 1985, separated when Lindsay was three, and later reunited. They separated again in 2005 and finalized their divorce in 2007.
Career
1989–1999: Career beginnings
Lohan began her career as a child model with Ford Models at the age of three. She modeled for Calvin Klein Kids and Abercrombie, and appeared in over 60 television commercials for brands like Pizza Hut and Wendy's, as well as a Jell-O spot with Bill Cosby. By the age of 10, when Lohan played Alexandra "Alli" Fowler in the television soap opera Another World, Soap Opera Magazine said she was already considered a show-business veteran.
Lohan remained in her role on Another World for a year, before leaving to star in Disney's 1998 family comedy The Parent Trap, a remake of the 1961 movie. She played dual roles of twins, separated in infancy, who try to reunite their long-divorced parents, played by Dennis Quaid and Natasha Richardson. The film earned $92 million worldwide, and received largely positive reviews. Lohan received unanimous acclaim for her debut performance. Critic Kenneth Turan called Lohan "the soul of this film as much as Hayley Mills was of the original", going on to say that "she is more adept than her predecessor at creating two distinct personalities." The film won Lohan a Young Artist Award for best performance in a feature film as well as a three-film contract with Disney. At the age of 14, Lohan played Bette Midler's daughter in the pilot episode of the short-lived series Bette, but she resigned her role when the production moved from New York to Los Angeles.
2000–2003: Success with Disney films
Lohan starred in two made-for-TV movies: Life-Size alongside Tyra Banks in 2000, and Get a Clue in 2002. In 2003, Lohan starred alongside Jamie Lee Curtis in the 2003 remake of Disney's family comedy Freaky Friday, playing a mother and daughter who switch bodies and have to take on each other's roles. At Lohan's initiative, her character was rewritten and changed from a Goth style to be more mainstream. Her performance was once again met with significant praise. Critic Roger Ebert wrote that Lohan "has that Jodie Foster sort of seriousness and intent focus beneath her teenage persona." Freaky Friday earned Lohan the award for Breakthrough Performance at the 2004 MTV Movie Awards and, , it remained her most commercially successful film, earning $160 million worldwide as well as an 87 percent approval rating on Rotten Tomatoes.
Emilio Estefan and his wife, Gloria Estefan, signed Lohan to a five-album production deal in September 2002. Lohan landed the role as the daughter in Disney's remake, Freaky Friday, also that month, which required her to learn how to play the guitar and to sing. Lohan recorded a song for the film, "Ultimate", which was released to Radio Disney to help promote the film. The song peaked at number 18 on Radio Disney's Top 30. Lohan announced that the song was separate from her singing career since many teen idols such as Hilary Duff and Raven-Symoné were expanding their careers from acting to singing. In 2003, Lohan recorded four songs that were released for the soundtrack to Lohan's film, Confessions of a Teenage Drama Queen, including a Radio Disney hit, "Drama Queen (That Girl)."
She had begun working with Diane Warren and Randy Jackson, who were going to help write and produce her album. Diane Warren wrote the song "I Decide" for Lohan, which was originally going to be on her album. When Lohan decided not to collaborate with Warren and Jackson, "I Decide" was instead released on the soundtrack to the film The Princess Diaries 2: Royal Engagement and on to Radio Disney.
2004–2006: Status as teen idol and music releases
Lohan began writing the tracks on her album in April 2004. "I write a lot of lyrics and I'm involved in the producing process, because it's like, if I'm singing it, I want it to be something that I can relate to," Lohan said. "I'm just trying to feel it out and see where it goes. I'm playing guitar and
I also love to dance, so [the music will be] somewhere along the lines of hip-hop and rock."
Lohan's debut album, Speak, was released in the United States on December 7, 2004. The album was the first high-seller from Casablanca Records in several years, selling 1,000,000 units in the United States. The album received mostly negative reviews, with critics commenting that Lohan "isn't a bad singer, but not an extraordinary singer either." In the United States, the album peaked at number four on the Billboard 200, selling 261,762 copies in its first week. In Germany the album debuted at number 53 and took four weeks to complete its chart run. The first two singles from Speak, "Rumors" and "Over", were both successes, with "Over" topping the Bubbling Under Hot 100 Singles, where it stayed for three weeks. The song also did well internationally in countries such as Australia, Ireland, and the United Kingdom. "Rumors" peaked at number six on the Bubbling Under Hot 100 chart and also did well in Australia and Germany, where it reached number 14. The music video for "Rumors" was nominated for Best Pop Video at the 2005 MTV Video Music Awards. Both songs received heavy airplay on MTV's Total Request Live. The final single, "First", was released to help promote Lohan's film, Herbie: Fully Loaded. The song earned small success in Australia and Germany. Lohan promoted the album by performing the songs in a number of live appearances. A tour of Taiwan was planned, but later scrapped.
In 2004, Lohan had lead roles in two major motion pictures. The first film, Disney's teen comedy Confessions of a Teenage Drama Queen, earned a domestic box office total of $29 million, with Brandon Gray of Box Office Mojo commenting that it was "well above expectations as it was strictly for young girls." But the film was not met with critical acclaim. Robert K. Elder of the Chicago Tribune wrote that "though still a promising star, Lohan will have to do a little penance before she's forgiven for Confessions." Her second lead role that year, in the teen comedy Mean Girls, marked Lohan's first movie independent of Disney. The film was a critical and commercial success, grossing $129 million worldwide and, according to Brandon Gray, "cementing her status as the new teen movie queen." Mick LaSalle from the San Francisco Chronicle wrote that "Lohan is sensitive and appealing, a solid locus for audience sympathy." David Rooney from Variety said that "Lohan displays plenty of charm, verve and deft comic timing." Lohan received four awards at the 2004 Teen Choice Awards for Freaky Friday and Mean Girls, including Breakout Movie Star. Mean Girls also earned her two awards at the 2005 MTV Movie Awards. In 2021, The New Yorker critic Richard Brody placed Lohan's performance in Mean Girls at number eleven in his list of "The Best Movie Performances of the Century So Far".
With Mean Girls, Lohan's public profile was raised significantly. Vanity Fair described how she became a household name. Paparazzi began following her and her love life and partying became frequent targets of gossip sites and the tabloid media. Following the film, which was scripted by former "Not Ready for Prime Time Actress" Tina Fey and featured several other veterans of Saturday Night Lives "Not Ready for Prime Time Company", Lohan hosted the show three times between 2004 and 2006. In 2004, when Lohan was 17, she became the youngest host of the MTV Movie Awards and in 2006 she hosted the 2006 World Music Awards. Lohan returned to Disney in 2005, starring in the comedy Herbie: Fully Loaded, the fifth film in the series with the anthropomorphic Volkswagen Beetle Herbie. Fully Loaded earned $144 million worldwide, but it received mixed reviews. Stephen Holden of The New York Times called Lohan "a genuine star who ... seems completely at home on the screen", while James Berardinelli wrote that "as bright a starlet as she may be, Lohan ends up playing second fiddle to the car." In 2005, Lohan became the first person to have a My Scene celebrity doll released by Mattel. She also voiced herself in the animated direct-to-DVD film My Scene Goes Hollywood: The Movie, based on the series of dolls.
Lohan's second album, A Little More Personal (Raw), was released in December 2005. It peaked at number 20 on the Billboard 200 chart, and was eventually certified Gold. Lohan co-wrote most of the songs on the album, which received a mixed critical response. Slant Magazine called it "contrived ... for all the so-called weighty subject matter, there's not much meat on these bones." Lohan herself directed the music video for the album's only single, "Confessions of a Broken Heart (Daughter to Father)", which features her sister Aliana Lohan. The video is a dramatization of the pain Lohan said her family suffered at the hands of her father. It was her first song to chart on the Billboard Hot 100, peaking at number 57.
2006–2008: Interruptions and mature film roles
Lohan's next widely released film, the romantic comedy Just My Luck, opened in May 2006 and, according to Variety, earned her over $7 million. The opening weekend box office takings of $5.7 million "broke lead actress Lindsay Lohan's winning streak" according to Brandon Gray. The film received poor reviews and earned Lohan her first Golden Raspberry nomination for Worst Actress. Following Just My Luck, Lohan focused on smaller roles in more mature, independent movies. Robert Altman's ensemble comedy A Prairie Home Companion, based on humorist Garrison Keillor's works, in which Lohan co-stars with Meryl Streep and Lily Tomlin, had a limited release in June 2006. Peter Travers wrote for Rolling Stone that "Lohan rises to the occasion, delivering a rock-the-house version of 'Frankie and Johnny.'" Co-star Streep said of Lohan's acting: "She's in command of the art form" and "completely, visibly living in front of the camera." The Emilio Estevez ensemble drama Bobby, about the hours leading up to the Robert F. Kennedy assassination, was released in theaters in November 2006. Lohan received favorable comments for her performance, particularly a scene alongside Sharon Stone. As part of the Bobby ensemble cast, Lohan was nominated for a Screen Actors Guild Award.
Lohan's next appearance was in Chapter 27 as a John Lennon fan who befriends Mark David Chapman, played by Jared Leto, on the day he murders Lennon. Filming finished in early 2006, but the film was not released until March 2008 due to difficulties in finding a distributor. In May 2007, the drama Georgia Rule was released. In the film, Lohan portrays an out-of-control teenager whose mother (Felicity Huffman) brings her to the house of her own estranged mother (Jane Fonda). Owen Gleiberman of Entertainment Weekly wrote that "Lohan hits a true note of spiteful princess narcissism." During filming in 2006, Lohan was hospitalized, her representative saying "she was overheated and dehydrated." In a letter that was made public, studio executive James G. Robinson called Lohan "irresponsible and unprofessional." He mentioned "various late arrivals and absences from the set" and said that "we are well aware that your ongoing all night heavy partying is the real reason for your so-called 'exhaustion.'" In 2007, Lohan was cast in the film Poor Things, which she ultimately lost.
In early January 2007, production on the film I Know Who Killed Me was put on hold when Lohan underwent appendix surgery. While Lohan was in rehab, she continued shooting the film, returning to the facility at night. Shortly thereafter, Lohan withdrew from a film adaptation of Oscar Wilde's A Woman of No Importance, her publicist stating that Lohan needed to "focus on getting better." Lohan was replaced in The Edge of Love in April 2007, shortly before filming was to begin, with the director citing "insurance reasons" and Lohan later explaining that she "was going through a really bad time then."
In the wake of her second DUI arrest, Lohan withdrew from a scheduled appearance on The Tonight Show with Jay Leno in which she had been due to promote I Know Who Killed Me, a psychological horror-thriller in which she stars as a stripper with a dual personality. The film premiered in July 2007 to what Entertainment Weekly called "an abysmal $3.5 million." It earned Lohan dual Golden Raspberry awards for Worst Actress, with Lohan coming first and second, tying with herself. Hollywood executives and industry insiders commented that it would be difficult for Lohan to find employment until she could prove that she was sober and reliable, citing possible issues with securing insurance.
2008–2011: Continued delays
In May 2008, Lohan made her first screen appearance since I Know Who Killed Me, on ABC's television series Ugly Betty. She guest starred in four episodes as Kimmie Keegan, an old schoolmate of the protagonist Betty Suarez. In the comedy Labor Pains, Lohan plays a woman who pretends to be pregnant. During the shoot, Lohan's manager worked with the paparazzi to encourage the media to show her work, as opposed to partying. It was originally planned for a theatrical release, but instead appeared as a TV movie on the ABC Family cable channel in July 2009, "a setback for the star" according to Variety. The premiere received 2.1 million viewers, "better-than-average" for the channel according to E! Online. Alessandra Stanley of The New York Times wrote that "this is not a triumphant return of a prodigal child star. ... [Labor Pains] never shakes free of the heavy baggage Ms. Lohan brings to the role." Lohan was a guest judge on US TV style contest Project Runway sixth-season premiere episode, which aired in August 2009.
Lohan narrated and presented the British television documentary Lindsay Lohan's Indian Journey, about human trafficking in India. It was filmed during a week in India in December 2009, and transmitted on BBC Three in April 2010. The BBC was criticized for having hired Lohan, and while reviewers called the documentary compelling, they also found Lohan's presence to be odd and distracting. Lohan said: "I hope my presence in India will bring awareness to the really important issues raised in making this film." In April 2010, Lohan was let go from the film The Other Side where she had been set to star, with the director saying she was "not bankable."
Following a switch to Universal Motown, Lohan began working on a third album, tentatively titled Spirit in the Dark, in late 2007. In May 2008, the single "Bossy" was released onto digital outlets, and reached number one on the US Billboard Hot Dance Club Play chart.
The song was meant to serve as the lead single from the album. Later that year, Lohan said that work on the album had stalled and that she wanted to avoid the stress of working on movies and music at the same time.
In June 2010, Lohan was the subject of a fashion shoot in the photographer docu-series Double Exposure on Bravo. Robert Rodriguez's action exploitation film Machete opened in September 2010. In the film, Lohan's character takes drugs, is naked in much of her appearance, and later dons a nun's habit while toting a machine gun. Its critical reviews were mixed. The Washington Post described her character as "a campier, trampier version of herself – or at least her tabloid image." Premiere.com said she was "terrible" while Variety called it "her best work in some time." Because of her rehabilitation and legal engagements, Lohan did not participate in promotion of the movie. Lohan filmed a sketch where she is dressed as Marilyn Monroe for Inappropriate Comedy in 2010. The film had issues finding a distributor and was not released until 2013, when it was met with poor box office and critical reception. Lohan appeared on the October 2010 cover of Vanity Fair. She told the magazine: "I want my career back" and "I know that I'm a damn good actress."
2012–2017: Television work and stage debut
Lohan had not appeared on Saturday Night Live since 2006, when she hosted the show for the fourth time in March 2012. Her appearance received mixed to negative reviews. Critics appreciated the self-deprecating references to her personal troubles, but also commented that she largely played a supporting role. The episode had the second highest ratings of the season with 7.4 million viewers. In May 2012, Lohan appeared briefly, as a celebrity judge, on the television series Glee, in the episode "Nationals." Lohan stars as a surfer in the art film First Point by artist Richard Phillips. It debuted at Art Basel in June 2012 and features a score by Thomas Bangalter from Daft Punk. Comments from critics on Lohan's work were mixed. Lohan starred as Elizabeth Taylor in the biographical made-for-TV movie Liz & Dick, which premiered on the Lifetime cable channel in November 2012. Reviews of Lohan's performance were largely, but not unanimously, negative. The Hollywood Reporter said she was "woeful" while Variety called her "adequate." Entertainment Weekly described the premiere ratings of 3.5 millions as "a little soft." During the production, paramedics were called to Lohan's hotel room, treating her for exhaustion and dehydration. In April 2013, the horror comedy Scary Movie 5 was released, where Lohan appears as herself alongside Charlie Sheen in the opening sketch. While the movie itself was panned by critics, a few reviewers found Lohan's and Sheen's to be one of the better scenes. Lohan also guest-starred as herself in an April 2013 episode of Sheen's comedy series Anger Management.
In August 2013, just days after Lohan left rehab, The Canyons was released, an independent erotic thriller directed by Paul Schrader and written by Bret Easton Ellis. It was made on a low budget, most of which was gathered through online fund raiser Kickstarter. Lohan received $100 a day and a share of the profits, and she was also credited as a co-producer. The New York Times Magazine described Lohan as difficult to work with, and the shoot as fraught with conflict between Lohan and Schrader. Lohan and her co-star, adult-film actor James Deen, portray an actress and a producer in a volatile relationship. Reviews for the film were generally poor, but several critics praised Lohan's performance. The New Yorker said she was "overwrought and unfocused" while Variety called her "very affecting" and Salon described her as "almost incandescent." The same month Lohan filled in for Chelsea Handler as host of the cable talk show Chelsea Lately. She received mostly positive reviews for her appearance and the show garnered its best ratings of the year.
The 8-part docu-series Lindsay was transmitted in March and April 2014 on Oprah Winfrey's OWN cable network. The series followed Lohan's life and work as she moved to New York City after leaving rehab. In the final episode, Lohan said that she had had a miscarriage which had interrupted filming of the series. The premiere had 693,000 viewers, described as "so-so" by The Hollywood Reporter. The ratings then slipped and the finale only had 406,000 viewers. New York Daily News called the series "surprisingly routine", Variety described it as boring, while Liz Smith said it was "compelling" and "usually painful to watch." In December 2013, Lohan introduced Miley Cyrus before her set at Dick Clark's New Year's Rockin' Eve. In April 2014, Lohan guest-starred in an episode of the CBS sitcom 2 Broke Girls. Around this time, Lohan had also announced and began promoting a film she was set to star in titled Inconceivable, which was never produced for unknown reasons.
Lohan made her stage debut in October 2014, starring in the London West End production of David Mamet's Speed-the-Plow, a satire about the movie business. She portrayed Karen, the secretary of a Hollywood executive, in a role originally played by Madonna. Reviews of Lohan's performance were mixed, with the Associated Press describing critical reception overall as "lukewarm." The Stage said she was "out of her league" while The Times wrote that she "can act a bit" and The Guardian said she "holds the stage with ease."
In 2015, the English band Duran Duran announced that Lohan was featured on the song "Danceophobia" from their fourteenth studio album, Paper Gods.
2018–present: Return to music and acting comeback
In June 2015, Lohan filmed the supernatural thriller, Among the Shadows. The film saw a series of delays with its release and was eventually listed for sale at the European Film Market at the Berlin International Film Festival in February 2018. It was released on March 5, 2019, by Momentum Pictures.
In October 2016, Lohan opened her first nightclub, in collaboration with her ex-business partner Dennis Papageorgiou, named "Lohan Nightclub", in Athens, Greece.
In July 2018, the second season of Sick Note —in which Lohan has a recurring role— premiered on Sky One. In May 2018, she opened a resort on the Greek island Mykonos called "Lohan Beach House Mykonos" and later her second resort in Ialisos Beach, Rhodes, called "Lohan Beach House Rhodes." In July 2018, People magazine revealed that Lohan had signed on to star in an MTV reality series, Lindsay Lohan's Beach Club focusing on the Mykonos Beach House and her career and business ventures. The series premiered on January 8, 2019, on MTV. The show was canceled after one season. As of June 2019, the beach club is no longer open in Mykonos.
In July 2019, it was announced that Lohan will be one of the panelists on the Australian edition of Masked Singer. It was announced on October 10 that Lohan will return for season two of The Masked Singer. On July 7, 2020, it was revealed that Lohan would be unable to return to the judging panel in the second season, as she could not travel from Dubai to Melbourne because of the COVID-19 pandemic and the implementation of travel restrictions. She was replaced for season 2 by new panelist, comedian Urzila Carlson.
In June 2019, Page Six reported that Lohan had re-signed with Casablanca Records to record and release her third studio album, along with "a couple of soundtracks." In July, Lohan confirmed signing a joint deal with Casablanca and Republic Records. In August 2019, a snippet of a song titled "Xanax" was premiered by radio host Kris Fade on Virgin Radio Dubai. Lohan then teased her song again in late-December, announcing in January that her first album in 15 years would be released at the end of February.
On April 1, 2020, Lohan announced her album's lead single, "Back to Me." The song was released on April 3 and received positive reviews from critics.
Lohan has announced several upcoming films including one titled Frame, which she is set to star in, as well an untitled film based on the book Honeymoon, which Lohan is writing the script for. During her appearance on CNN's 2019 New Year's Eve special, Lohan announced she would be coming back to the United States for a Hollywood comeback. Lohan also announced that she is managing her younger sister Ali's music career.
In March 2021, Lohan auctioned a single called Lullaby. In May 2021, Netflix announced that Lohan was set to star in Falling for Christmas, a Christmas romantic comedy about a woman who suffers amnesia following a skiing accident and finds herself in the care of a blue-collar lodge owner. The film began filming in November 2021, and is to be directed and co-written by Janeen Damian, with a release date set for late 2022.
Other ventures
Fashion and modeling
Lohan has been the face of Jill Stuart, Miu Miu, and, as well as the 2008 Visa Swap British fashion campaign. She was also the face of Italian clothing company Fornarina for its Spring–Summer 2009 campaign. Lohan has a long-lasting fascination with Marilyn Monroe going back to when she saw Niagara during The Parent Trap shoot. In the 2008 Spring Fashion edition of New York magazine, Lohan re-created Monroe's final photo shoot, known as The Last Sitting, including nudity, saying that the photo shoot was "an honor." The New York Times critic Ginia Bellafante found it disturbing, saying "the pictures ask viewers to engage in a kind of mock necrophilia. ... [and] the photographs bear none of Monroe's fragility."
In 2008, Lohan launched a clothes line, whose name 6126 was designed to represent Monroe's birth date (June 1, 1926). The line started with leggings, before expanding to a full collection, covering 280 pieces . In January 2009, Lohan appeared as a guest judge on Project Runway. In September 2009, Lohan became an artistic adviser for the French fashion house Emanuel Ungaro. A collection by designer Estrella Archs with Lohan as adviser was presented in October, receiving a "disastrous" reception, according to Entertainment Weekly and New York. Lohan left the company in March 2010. Lohan appeared in the January–February 2012 issue of Playboy magazine, in a shoot inspired by a nude pictorial of Marilyn Monroe from the first issue of the magazine. Editor Hugh Hefner said Lohan's issue was "breaking sales records."
In early 2018, Lohan announced plans on developing a makeup brand separate from her fashion brand and stated that it was still in its early stages of development.
Apps
In December 2014, the free-to-play video game app Lindsay Lohan's The Price of Fame was released for the iOS and Android operating systems. Polygon said it was "funny, trashy and surprisingly self-aware" while Vulture called it "a crappy knockoff of Kim Kardashian: Hollywood."
In June 2017, Lohan announced she was starting a lifestyle site called Preemium, which subscribers could access for $2.99 a month.
In October 2021, Lohan announced that she would be hosting a podcast through Studio 71.
Personal life
Lohan began dating actor Wilmer Valderrama in 2004, Hard Rock Cafe heir Harry Morton in 2006, and DJ Samantha Ronson in 2008 and 2009. In April 2009, following her breakup with Ronson, Lohan appeared in a dating video spoof on the comedy website Funny or Die. It was viewed 2.7 million times in the first week and received favorable comments from the media. In 2016, Lohan was engaged to London-based Russian millionaire Egor Tarabasov, owner of the real estate agency Home House Estates and son of Dmitry Tarabasov. They reportedly split up in mid-2017, with Lohan accusing Tarabasov of abuse and him accusing her of stealing £24,000 worth of his belongings. On November 28, 2021, Lohan announced her engagement to financier Bader Shammas after three years of dating.
Lohan spoke about her turbulent childhood in 2007, the same year her parents finalized their divorce: "I feel like a second parent in the sense that I helped raise my family ... I was put between my mother and father a lot." Despite the conflicts, Lohan spoke very fondly of her family. However, in 2007, 2008, and 2009 she admitted that she had cut off contact with her father, describing his behavior as unpredictable and hard to deal with.
Filmography
After beginning her acting career as a child actor in the early 1990s, Lohan, at age 11, made her film debut in Disney's successful remake of The Parent Trap (1998). Freaky Friday (2003) remains her highest-grossing film, while Mean Girls (2004), both a critical and commercial success, became a cult classic. Her career faced many interruptions from legal and personal troubles during the late 2000s and early 2010s, but she has still appeared in 26 films (including 6 as a personality), 12 television appearances, 1 play and 5 music videos. Her films include:
Discography
Speak (2004)
A Little More Personal (Raw) (2005)
See also
List of awards and nominations received by Lindsay Lohan
List of artists who reached number one on the U.S. Dance Club Songs chart
References
Notes
Cited works
External links
1986 births
20th-century American actresses
21st-century American actresses
21st-century American singers
21st-century American women singers
Actresses from New York (state)
American child actresses
American child singers
American documentary filmmakers
American expatriate actresses in the United Kingdom
American expatriates in the United Arab Emirates
American women pop singers
American film actresses
American people convicted of theft
American people of Irish descent
American people of Italian descent
American prisoners and detainees
American soap opera actresses
American television actresses
Child pop musicians
Cold Spring Harbor Jr./Sr. High School alumni
Golden Raspberry Award winners
Living people
Lohan family
Motown artists
People from Cold Spring Harbor, New York
People from Merrick, New York
People from the Bronx
Singers from New York (state)
Universal Records artists
Women documentary filmmakers
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"Criminal order or criminal orders may refer to:\nCriminal order (international law), an order to commit a war crime or violate international law\nCriminal orders (Nazi Germany), orders to commit war crimes issued by the military of Nazi Germany\nProtection order, also known as a criminal order\n\nSee also\nSuperior orders, a defense for war crimes",
"Order () is a 2005 Russian drama film directed by Vera Glagoleva.\n\nPlot \nThe film tells about a woman who leaves her husband, as a result of which she tries to commit suicide, but can't decide. Suddenly, several contract killings take place in front of her eyes and each time she sees the same man who is likely to commit these crimes and she orders him her murder.\n\nCast \n Nataliya Vdovina as Anna\n Aleksandr Baluev as Oleg\n Larisa Guzeeva as Galya\n Vladimir Sterzhakov as Natan\n Aleksandr Yakovlev as Igor\n Anna Nosatova as Lena\n Leonid Anisimov\n Galina Kobzar-Slobodyuk as Yarofeyeva\n Aleksandr Nosovsky\n Vsevolod Kabanov\n\nReferences\n\nExternal links \n \n\n2005 films\nRussian-language films\nRussian drama films\nRussian films\n2005 drama films"
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"2005-08: Continued success and legal troubles",
"Did Lindsay Lohan ever go to jail?",
"I don't know.",
"What crimes did she commit?",
"I don't know."
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C_2a6bbe85d9ac4ceb9b281ff28685e7ca_0
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What movies did she make in 2005-2008?
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What movies did Lindsay Lohan make in 2005-2008?
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Lindsay Lohan
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Lohan returned to Disney in 2005, starring in the comedy Herbie: Fully Loaded, the fifth film in the series with the anthropomorphic car Herbie. Fully Loaded earned $144 million worldwide, but it received mixed reviews. Stephen Holden of The New York Times called Lohan "a genuine star who ... seems completely at home on the screen", while James Berardinelli wrote that "as bright a starlet as she may be, Lohan ends up playing second fiddle to the car." While shooting the film in 2004, Lohan was hospitalized with a kidney infection brought on by stress in her personal life and from recording her first album while the film was in production, prompting Vanity Fair to label it Lohan's "first disastrous shoot." She also guest-starred in an episode of That '70s Show, of whose cast Wilmer Valderrama, her boyfriend at the time, was a regular member. According to Vanity Fair, the breakup with Valderrama contributed to Lohan's issues during the Herbie shoot. In 2005, Lohan became the first person to have a My Scene celebrity doll released by Mattel. She also voiced herself in the animated direct-to-DVD film My Scene Goes Hollywood: The Movie, based on the series of dolls. Following Mean Girls, Lohan spent several years living out of hotels in Los Angeles, of which two years were spent at the infamous Chateau Marmont, where comedy actor John Belushi had died. In late 2007, after settling down in a more permanent residence, she explained that she "didn't want to be alone" but that "it wasn't a way of life ... not very consistent." She had a series of car accidents that were widely reported, in August 2004, October 2005, and November 2006, when she suffered minor injuries because a paparazzo who was following her for a photograph hit her car. Lohan's next widely released film, the romantic comedy Just My Luck, opened in May 2006 and, according to Variety, earned her over $7 million. The opening weekend box office takings of $5.7 million "broke lead actress Lindsay Lohan's winning streak" according to Brandon Gray. The film received poor reviews and earned Lohan her first Golden Raspberry nomination for Worst Actress. Following Just My Luck, Lohan focused on smaller roles in more mature, independent movies. Robert Altman's ensemble comedy A Prairie Home Companion, based on humorist Garrison Keillor's works, in which Lohan co-stars with Meryl Streep and Lily Tomlin, had a limited release in June 2006. Peter Travers wrote for Rolling Stone that "Lohan rises to the occasion, delivering a rock-the-house version of 'Frankie and Johnny.'" Co-star Streep said of Lohan's acting: "She's in command of the art form" and "completely, visibly living in front of the camera." The Emilio Estevez ensemble drama Bobby, about the hours leading up to the Robert F. Kennedy assassination, was released in theaters in November 2006. Lohan received favorable comments for her performance, particularly a scene alongside Sharon Stone. As part of the Bobby ensemble cast, Lohan was nominated for a Screen Actors Guild Award. In 2006, Lohan attended Alcoholics Anonymous meetings. CANNOTANSWER
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Lohan's next widely released film, the romantic comedy Just My Luck, opened in May 2006 and, according to Variety, earned her over $7 million.
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Lindsay Dee Lohan (; born July 2, 1986) is an American actress, singer, songwriter, producer, entrepreneur, and former model. Born and raised in New York City, Lohan was signed to Ford Models at the age of three. Having appeared as a regular on the television soap opera Another World at age 10, her breakthrough came in the Walt Disney Pictures film The Parent Trap (1998). The film's success led to appearances in the television films Life-Size (2000) and Get a Clue (2002), and the big-screen productions Freaky Friday (2003) and Confessions of a Teenage Drama Queen (2004).
Lohan's early work won her childhood stardom, while the teen comedy sleeper hit Mean Girls (2004) affirmed her status as a teen idol. After starring in the sports comedy film Herbie: Fully Loaded (2005), Lohan quickly became the subject of intense media coverage due to a series of personal struggles and legal troubles, as well as a number of stints in rehabilitation facilities due to substance abuse. This period saw her lose several roles and had significantly impacted her career and public image negatively. Thereafter, she appeared in films, such as A Prairie Home Companion (2006), Just My Luck (2006), Bobby (2006), Chapter 27 (2007), Machete (2010), Liz & Dick (2012), and The Canyons (2013).
Lohan then appeared on various television shows, including the docu-series Lindsay (2014), the British comedy series Sick Note (2018), the MTV reality show Lindsay Lohan's Beach Club (2019), and the musical competition show The Masked Singer Australia (2019) in which she served as a judge. She also made her stage debut in the London West End production of Speed-the-Plow (2014–2015).
Lohan rose to prominence in the music industry under Casablanca Records, releasing two studio albums, the platinum-certified Speak (2004) and gold-certified A Little More Personal (Raw) (2005). Lohan dabbled in fashion, beginning a line of her own titled 6126 and briefly serving as artistic advisor for Emanuel Ungaro in 2009. Since 2016, she has opened several nightclubs and resorts in Greece.
Early life
Lindsay Lohan was born on July 2, 1986, in the Bronx borough of New York City, and grew up in Merrick and Cold Spring Harbor on Long Island, New York. She is the eldest child of Dina, and Michael Lohan. Her father, a former Wall Street trader, has been in trouble with the law on several occasions, while her mother is a former singer and dancer. Lohan has three younger siblings, all of whom have been models or actors: Michael Jr., who appeared with Lohan in The Parent Trap, Aliana, known as "Ali", and Dakota "Cody" Lohan. Lohan is of Irish and Italian heritage, and she was raised as a Roman Catholic. Her maternal antecedents were "well known Irish Catholic stalwarts" and her great-grandfather, John L. Sullivan, was a co-founder of the Pro-life Party on Long Island. She began home-schooling in grade 11. Lohan is a natural redhead.
Lohan's parents married in 1985, separated when Lindsay was three, and later reunited. They separated again in 2005 and finalized their divorce in 2007.
Career
1989–1999: Career beginnings
Lohan began her career as a child model with Ford Models at the age of three. She modeled for Calvin Klein Kids and Abercrombie, and appeared in over 60 television commercials for brands like Pizza Hut and Wendy's, as well as a Jell-O spot with Bill Cosby. By the age of 10, when Lohan played Alexandra "Alli" Fowler in the television soap opera Another World, Soap Opera Magazine said she was already considered a show-business veteran.
Lohan remained in her role on Another World for a year, before leaving to star in Disney's 1998 family comedy The Parent Trap, a remake of the 1961 movie. She played dual roles of twins, separated in infancy, who try to reunite their long-divorced parents, played by Dennis Quaid and Natasha Richardson. The film earned $92 million worldwide, and received largely positive reviews. Lohan received unanimous acclaim for her debut performance. Critic Kenneth Turan called Lohan "the soul of this film as much as Hayley Mills was of the original", going on to say that "she is more adept than her predecessor at creating two distinct personalities." The film won Lohan a Young Artist Award for best performance in a feature film as well as a three-film contract with Disney. At the age of 14, Lohan played Bette Midler's daughter in the pilot episode of the short-lived series Bette, but she resigned her role when the production moved from New York to Los Angeles.
2000–2003: Success with Disney films
Lohan starred in two made-for-TV movies: Life-Size alongside Tyra Banks in 2000, and Get a Clue in 2002. In 2003, Lohan starred alongside Jamie Lee Curtis in the 2003 remake of Disney's family comedy Freaky Friday, playing a mother and daughter who switch bodies and have to take on each other's roles. At Lohan's initiative, her character was rewritten and changed from a Goth style to be more mainstream. Her performance was once again met with significant praise. Critic Roger Ebert wrote that Lohan "has that Jodie Foster sort of seriousness and intent focus beneath her teenage persona." Freaky Friday earned Lohan the award for Breakthrough Performance at the 2004 MTV Movie Awards and, , it remained her most commercially successful film, earning $160 million worldwide as well as an 87 percent approval rating on Rotten Tomatoes.
Emilio Estefan and his wife, Gloria Estefan, signed Lohan to a five-album production deal in September 2002. Lohan landed the role as the daughter in Disney's remake, Freaky Friday, also that month, which required her to learn how to play the guitar and to sing. Lohan recorded a song for the film, "Ultimate", which was released to Radio Disney to help promote the film. The song peaked at number 18 on Radio Disney's Top 30. Lohan announced that the song was separate from her singing career since many teen idols such as Hilary Duff and Raven-Symoné were expanding their careers from acting to singing. In 2003, Lohan recorded four songs that were released for the soundtrack to Lohan's film, Confessions of a Teenage Drama Queen, including a Radio Disney hit, "Drama Queen (That Girl)."
She had begun working with Diane Warren and Randy Jackson, who were going to help write and produce her album. Diane Warren wrote the song "I Decide" for Lohan, which was originally going to be on her album. When Lohan decided not to collaborate with Warren and Jackson, "I Decide" was instead released on the soundtrack to the film The Princess Diaries 2: Royal Engagement and on to Radio Disney.
2004–2006: Status as teen idol and music releases
Lohan began writing the tracks on her album in April 2004. "I write a lot of lyrics and I'm involved in the producing process, because it's like, if I'm singing it, I want it to be something that I can relate to," Lohan said. "I'm just trying to feel it out and see where it goes. I'm playing guitar and
I also love to dance, so [the music will be] somewhere along the lines of hip-hop and rock."
Lohan's debut album, Speak, was released in the United States on December 7, 2004. The album was the first high-seller from Casablanca Records in several years, selling 1,000,000 units in the United States. The album received mostly negative reviews, with critics commenting that Lohan "isn't a bad singer, but not an extraordinary singer either." In the United States, the album peaked at number four on the Billboard 200, selling 261,762 copies in its first week. In Germany the album debuted at number 53 and took four weeks to complete its chart run. The first two singles from Speak, "Rumors" and "Over", were both successes, with "Over" topping the Bubbling Under Hot 100 Singles, where it stayed for three weeks. The song also did well internationally in countries such as Australia, Ireland, and the United Kingdom. "Rumors" peaked at number six on the Bubbling Under Hot 100 chart and also did well in Australia and Germany, where it reached number 14. The music video for "Rumors" was nominated for Best Pop Video at the 2005 MTV Video Music Awards. Both songs received heavy airplay on MTV's Total Request Live. The final single, "First", was released to help promote Lohan's film, Herbie: Fully Loaded. The song earned small success in Australia and Germany. Lohan promoted the album by performing the songs in a number of live appearances. A tour of Taiwan was planned, but later scrapped.
In 2004, Lohan had lead roles in two major motion pictures. The first film, Disney's teen comedy Confessions of a Teenage Drama Queen, earned a domestic box office total of $29 million, with Brandon Gray of Box Office Mojo commenting that it was "well above expectations as it was strictly for young girls." But the film was not met with critical acclaim. Robert K. Elder of the Chicago Tribune wrote that "though still a promising star, Lohan will have to do a little penance before she's forgiven for Confessions." Her second lead role that year, in the teen comedy Mean Girls, marked Lohan's first movie independent of Disney. The film was a critical and commercial success, grossing $129 million worldwide and, according to Brandon Gray, "cementing her status as the new teen movie queen." Mick LaSalle from the San Francisco Chronicle wrote that "Lohan is sensitive and appealing, a solid locus for audience sympathy." David Rooney from Variety said that "Lohan displays plenty of charm, verve and deft comic timing." Lohan received four awards at the 2004 Teen Choice Awards for Freaky Friday and Mean Girls, including Breakout Movie Star. Mean Girls also earned her two awards at the 2005 MTV Movie Awards. In 2021, The New Yorker critic Richard Brody placed Lohan's performance in Mean Girls at number eleven in his list of "The Best Movie Performances of the Century So Far".
With Mean Girls, Lohan's public profile was raised significantly. Vanity Fair described how she became a household name. Paparazzi began following her and her love life and partying became frequent targets of gossip sites and the tabloid media. Following the film, which was scripted by former "Not Ready for Prime Time Actress" Tina Fey and featured several other veterans of Saturday Night Lives "Not Ready for Prime Time Company", Lohan hosted the show three times between 2004 and 2006. In 2004, when Lohan was 17, she became the youngest host of the MTV Movie Awards and in 2006 she hosted the 2006 World Music Awards. Lohan returned to Disney in 2005, starring in the comedy Herbie: Fully Loaded, the fifth film in the series with the anthropomorphic Volkswagen Beetle Herbie. Fully Loaded earned $144 million worldwide, but it received mixed reviews. Stephen Holden of The New York Times called Lohan "a genuine star who ... seems completely at home on the screen", while James Berardinelli wrote that "as bright a starlet as she may be, Lohan ends up playing second fiddle to the car." In 2005, Lohan became the first person to have a My Scene celebrity doll released by Mattel. She also voiced herself in the animated direct-to-DVD film My Scene Goes Hollywood: The Movie, based on the series of dolls.
Lohan's second album, A Little More Personal (Raw), was released in December 2005. It peaked at number 20 on the Billboard 200 chart, and was eventually certified Gold. Lohan co-wrote most of the songs on the album, which received a mixed critical response. Slant Magazine called it "contrived ... for all the so-called weighty subject matter, there's not much meat on these bones." Lohan herself directed the music video for the album's only single, "Confessions of a Broken Heart (Daughter to Father)", which features her sister Aliana Lohan. The video is a dramatization of the pain Lohan said her family suffered at the hands of her father. It was her first song to chart on the Billboard Hot 100, peaking at number 57.
2006–2008: Interruptions and mature film roles
Lohan's next widely released film, the romantic comedy Just My Luck, opened in May 2006 and, according to Variety, earned her over $7 million. The opening weekend box office takings of $5.7 million "broke lead actress Lindsay Lohan's winning streak" according to Brandon Gray. The film received poor reviews and earned Lohan her first Golden Raspberry nomination for Worst Actress. Following Just My Luck, Lohan focused on smaller roles in more mature, independent movies. Robert Altman's ensemble comedy A Prairie Home Companion, based on humorist Garrison Keillor's works, in which Lohan co-stars with Meryl Streep and Lily Tomlin, had a limited release in June 2006. Peter Travers wrote for Rolling Stone that "Lohan rises to the occasion, delivering a rock-the-house version of 'Frankie and Johnny.'" Co-star Streep said of Lohan's acting: "She's in command of the art form" and "completely, visibly living in front of the camera." The Emilio Estevez ensemble drama Bobby, about the hours leading up to the Robert F. Kennedy assassination, was released in theaters in November 2006. Lohan received favorable comments for her performance, particularly a scene alongside Sharon Stone. As part of the Bobby ensemble cast, Lohan was nominated for a Screen Actors Guild Award.
Lohan's next appearance was in Chapter 27 as a John Lennon fan who befriends Mark David Chapman, played by Jared Leto, on the day he murders Lennon. Filming finished in early 2006, but the film was not released until March 2008 due to difficulties in finding a distributor. In May 2007, the drama Georgia Rule was released. In the film, Lohan portrays an out-of-control teenager whose mother (Felicity Huffman) brings her to the house of her own estranged mother (Jane Fonda). Owen Gleiberman of Entertainment Weekly wrote that "Lohan hits a true note of spiteful princess narcissism." During filming in 2006, Lohan was hospitalized, her representative saying "she was overheated and dehydrated." In a letter that was made public, studio executive James G. Robinson called Lohan "irresponsible and unprofessional." He mentioned "various late arrivals and absences from the set" and said that "we are well aware that your ongoing all night heavy partying is the real reason for your so-called 'exhaustion.'" In 2007, Lohan was cast in the film Poor Things, which she ultimately lost.
In early January 2007, production on the film I Know Who Killed Me was put on hold when Lohan underwent appendix surgery. While Lohan was in rehab, she continued shooting the film, returning to the facility at night. Shortly thereafter, Lohan withdrew from a film adaptation of Oscar Wilde's A Woman of No Importance, her publicist stating that Lohan needed to "focus on getting better." Lohan was replaced in The Edge of Love in April 2007, shortly before filming was to begin, with the director citing "insurance reasons" and Lohan later explaining that she "was going through a really bad time then."
In the wake of her second DUI arrest, Lohan withdrew from a scheduled appearance on The Tonight Show with Jay Leno in which she had been due to promote I Know Who Killed Me, a psychological horror-thriller in which she stars as a stripper with a dual personality. The film premiered in July 2007 to what Entertainment Weekly called "an abysmal $3.5 million." It earned Lohan dual Golden Raspberry awards for Worst Actress, with Lohan coming first and second, tying with herself. Hollywood executives and industry insiders commented that it would be difficult for Lohan to find employment until she could prove that she was sober and reliable, citing possible issues with securing insurance.
2008–2011: Continued delays
In May 2008, Lohan made her first screen appearance since I Know Who Killed Me, on ABC's television series Ugly Betty. She guest starred in four episodes as Kimmie Keegan, an old schoolmate of the protagonist Betty Suarez. In the comedy Labor Pains, Lohan plays a woman who pretends to be pregnant. During the shoot, Lohan's manager worked with the paparazzi to encourage the media to show her work, as opposed to partying. It was originally planned for a theatrical release, but instead appeared as a TV movie on the ABC Family cable channel in July 2009, "a setback for the star" according to Variety. The premiere received 2.1 million viewers, "better-than-average" for the channel according to E! Online. Alessandra Stanley of The New York Times wrote that "this is not a triumphant return of a prodigal child star. ... [Labor Pains] never shakes free of the heavy baggage Ms. Lohan brings to the role." Lohan was a guest judge on US TV style contest Project Runway sixth-season premiere episode, which aired in August 2009.
Lohan narrated and presented the British television documentary Lindsay Lohan's Indian Journey, about human trafficking in India. It was filmed during a week in India in December 2009, and transmitted on BBC Three in April 2010. The BBC was criticized for having hired Lohan, and while reviewers called the documentary compelling, they also found Lohan's presence to be odd and distracting. Lohan said: "I hope my presence in India will bring awareness to the really important issues raised in making this film." In April 2010, Lohan was let go from the film The Other Side where she had been set to star, with the director saying she was "not bankable."
Following a switch to Universal Motown, Lohan began working on a third album, tentatively titled Spirit in the Dark, in late 2007. In May 2008, the single "Bossy" was released onto digital outlets, and reached number one on the US Billboard Hot Dance Club Play chart.
The song was meant to serve as the lead single from the album. Later that year, Lohan said that work on the album had stalled and that she wanted to avoid the stress of working on movies and music at the same time.
In June 2010, Lohan was the subject of a fashion shoot in the photographer docu-series Double Exposure on Bravo. Robert Rodriguez's action exploitation film Machete opened in September 2010. In the film, Lohan's character takes drugs, is naked in much of her appearance, and later dons a nun's habit while toting a machine gun. Its critical reviews were mixed. The Washington Post described her character as "a campier, trampier version of herself – or at least her tabloid image." Premiere.com said she was "terrible" while Variety called it "her best work in some time." Because of her rehabilitation and legal engagements, Lohan did not participate in promotion of the movie. Lohan filmed a sketch where she is dressed as Marilyn Monroe for Inappropriate Comedy in 2010. The film had issues finding a distributor and was not released until 2013, when it was met with poor box office and critical reception. Lohan appeared on the October 2010 cover of Vanity Fair. She told the magazine: "I want my career back" and "I know that I'm a damn good actress."
2012–2017: Television work and stage debut
Lohan had not appeared on Saturday Night Live since 2006, when she hosted the show for the fourth time in March 2012. Her appearance received mixed to negative reviews. Critics appreciated the self-deprecating references to her personal troubles, but also commented that she largely played a supporting role. The episode had the second highest ratings of the season with 7.4 million viewers. In May 2012, Lohan appeared briefly, as a celebrity judge, on the television series Glee, in the episode "Nationals." Lohan stars as a surfer in the art film First Point by artist Richard Phillips. It debuted at Art Basel in June 2012 and features a score by Thomas Bangalter from Daft Punk. Comments from critics on Lohan's work were mixed. Lohan starred as Elizabeth Taylor in the biographical made-for-TV movie Liz & Dick, which premiered on the Lifetime cable channel in November 2012. Reviews of Lohan's performance were largely, but not unanimously, negative. The Hollywood Reporter said she was "woeful" while Variety called her "adequate." Entertainment Weekly described the premiere ratings of 3.5 millions as "a little soft." During the production, paramedics were called to Lohan's hotel room, treating her for exhaustion and dehydration. In April 2013, the horror comedy Scary Movie 5 was released, where Lohan appears as herself alongside Charlie Sheen in the opening sketch. While the movie itself was panned by critics, a few reviewers found Lohan's and Sheen's to be one of the better scenes. Lohan also guest-starred as herself in an April 2013 episode of Sheen's comedy series Anger Management.
In August 2013, just days after Lohan left rehab, The Canyons was released, an independent erotic thriller directed by Paul Schrader and written by Bret Easton Ellis. It was made on a low budget, most of which was gathered through online fund raiser Kickstarter. Lohan received $100 a day and a share of the profits, and she was also credited as a co-producer. The New York Times Magazine described Lohan as difficult to work with, and the shoot as fraught with conflict between Lohan and Schrader. Lohan and her co-star, adult-film actor James Deen, portray an actress and a producer in a volatile relationship. Reviews for the film were generally poor, but several critics praised Lohan's performance. The New Yorker said she was "overwrought and unfocused" while Variety called her "very affecting" and Salon described her as "almost incandescent." The same month Lohan filled in for Chelsea Handler as host of the cable talk show Chelsea Lately. She received mostly positive reviews for her appearance and the show garnered its best ratings of the year.
The 8-part docu-series Lindsay was transmitted in March and April 2014 on Oprah Winfrey's OWN cable network. The series followed Lohan's life and work as she moved to New York City after leaving rehab. In the final episode, Lohan said that she had had a miscarriage which had interrupted filming of the series. The premiere had 693,000 viewers, described as "so-so" by The Hollywood Reporter. The ratings then slipped and the finale only had 406,000 viewers. New York Daily News called the series "surprisingly routine", Variety described it as boring, while Liz Smith said it was "compelling" and "usually painful to watch." In December 2013, Lohan introduced Miley Cyrus before her set at Dick Clark's New Year's Rockin' Eve. In April 2014, Lohan guest-starred in an episode of the CBS sitcom 2 Broke Girls. Around this time, Lohan had also announced and began promoting a film she was set to star in titled Inconceivable, which was never produced for unknown reasons.
Lohan made her stage debut in October 2014, starring in the London West End production of David Mamet's Speed-the-Plow, a satire about the movie business. She portrayed Karen, the secretary of a Hollywood executive, in a role originally played by Madonna. Reviews of Lohan's performance were mixed, with the Associated Press describing critical reception overall as "lukewarm." The Stage said she was "out of her league" while The Times wrote that she "can act a bit" and The Guardian said she "holds the stage with ease."
In 2015, the English band Duran Duran announced that Lohan was featured on the song "Danceophobia" from their fourteenth studio album, Paper Gods.
2018–present: Return to music and acting comeback
In June 2015, Lohan filmed the supernatural thriller, Among the Shadows. The film saw a series of delays with its release and was eventually listed for sale at the European Film Market at the Berlin International Film Festival in February 2018. It was released on March 5, 2019, by Momentum Pictures.
In October 2016, Lohan opened her first nightclub, in collaboration with her ex-business partner Dennis Papageorgiou, named "Lohan Nightclub", in Athens, Greece.
In July 2018, the second season of Sick Note —in which Lohan has a recurring role— premiered on Sky One. In May 2018, she opened a resort on the Greek island Mykonos called "Lohan Beach House Mykonos" and later her second resort in Ialisos Beach, Rhodes, called "Lohan Beach House Rhodes." In July 2018, People magazine revealed that Lohan had signed on to star in an MTV reality series, Lindsay Lohan's Beach Club focusing on the Mykonos Beach House and her career and business ventures. The series premiered on January 8, 2019, on MTV. The show was canceled after one season. As of June 2019, the beach club is no longer open in Mykonos.
In July 2019, it was announced that Lohan will be one of the panelists on the Australian edition of Masked Singer. It was announced on October 10 that Lohan will return for season two of The Masked Singer. On July 7, 2020, it was revealed that Lohan would be unable to return to the judging panel in the second season, as she could not travel from Dubai to Melbourne because of the COVID-19 pandemic and the implementation of travel restrictions. She was replaced for season 2 by new panelist, comedian Urzila Carlson.
In June 2019, Page Six reported that Lohan had re-signed with Casablanca Records to record and release her third studio album, along with "a couple of soundtracks." In July, Lohan confirmed signing a joint deal with Casablanca and Republic Records. In August 2019, a snippet of a song titled "Xanax" was premiered by radio host Kris Fade on Virgin Radio Dubai. Lohan then teased her song again in late-December, announcing in January that her first album in 15 years would be released at the end of February.
On April 1, 2020, Lohan announced her album's lead single, "Back to Me." The song was released on April 3 and received positive reviews from critics.
Lohan has announced several upcoming films including one titled Frame, which she is set to star in, as well an untitled film based on the book Honeymoon, which Lohan is writing the script for. During her appearance on CNN's 2019 New Year's Eve special, Lohan announced she would be coming back to the United States for a Hollywood comeback. Lohan also announced that she is managing her younger sister Ali's music career.
In March 2021, Lohan auctioned a single called Lullaby. In May 2021, Netflix announced that Lohan was set to star in Falling for Christmas, a Christmas romantic comedy about a woman who suffers amnesia following a skiing accident and finds herself in the care of a blue-collar lodge owner. The film began filming in November 2021, and is to be directed and co-written by Janeen Damian, with a release date set for late 2022.
Other ventures
Fashion and modeling
Lohan has been the face of Jill Stuart, Miu Miu, and, as well as the 2008 Visa Swap British fashion campaign. She was also the face of Italian clothing company Fornarina for its Spring–Summer 2009 campaign. Lohan has a long-lasting fascination with Marilyn Monroe going back to when she saw Niagara during The Parent Trap shoot. In the 2008 Spring Fashion edition of New York magazine, Lohan re-created Monroe's final photo shoot, known as The Last Sitting, including nudity, saying that the photo shoot was "an honor." The New York Times critic Ginia Bellafante found it disturbing, saying "the pictures ask viewers to engage in a kind of mock necrophilia. ... [and] the photographs bear none of Monroe's fragility."
In 2008, Lohan launched a clothes line, whose name 6126 was designed to represent Monroe's birth date (June 1, 1926). The line started with leggings, before expanding to a full collection, covering 280 pieces . In January 2009, Lohan appeared as a guest judge on Project Runway. In September 2009, Lohan became an artistic adviser for the French fashion house Emanuel Ungaro. A collection by designer Estrella Archs with Lohan as adviser was presented in October, receiving a "disastrous" reception, according to Entertainment Weekly and New York. Lohan left the company in March 2010. Lohan appeared in the January–February 2012 issue of Playboy magazine, in a shoot inspired by a nude pictorial of Marilyn Monroe from the first issue of the magazine. Editor Hugh Hefner said Lohan's issue was "breaking sales records."
In early 2018, Lohan announced plans on developing a makeup brand separate from her fashion brand and stated that it was still in its early stages of development.
Apps
In December 2014, the free-to-play video game app Lindsay Lohan's The Price of Fame was released for the iOS and Android operating systems. Polygon said it was "funny, trashy and surprisingly self-aware" while Vulture called it "a crappy knockoff of Kim Kardashian: Hollywood."
In June 2017, Lohan announced she was starting a lifestyle site called Preemium, which subscribers could access for $2.99 a month.
In October 2021, Lohan announced that she would be hosting a podcast through Studio 71.
Personal life
Lohan began dating actor Wilmer Valderrama in 2004, Hard Rock Cafe heir Harry Morton in 2006, and DJ Samantha Ronson in 2008 and 2009. In April 2009, following her breakup with Ronson, Lohan appeared in a dating video spoof on the comedy website Funny or Die. It was viewed 2.7 million times in the first week and received favorable comments from the media. In 2016, Lohan was engaged to London-based Russian millionaire Egor Tarabasov, owner of the real estate agency Home House Estates and son of Dmitry Tarabasov. They reportedly split up in mid-2017, with Lohan accusing Tarabasov of abuse and him accusing her of stealing £24,000 worth of his belongings. On November 28, 2021, Lohan announced her engagement to financier Bader Shammas after three years of dating.
Lohan spoke about her turbulent childhood in 2007, the same year her parents finalized their divorce: "I feel like a second parent in the sense that I helped raise my family ... I was put between my mother and father a lot." Despite the conflicts, Lohan spoke very fondly of her family. However, in 2007, 2008, and 2009 she admitted that she had cut off contact with her father, describing his behavior as unpredictable and hard to deal with.
Filmography
After beginning her acting career as a child actor in the early 1990s, Lohan, at age 11, made her film debut in Disney's successful remake of The Parent Trap (1998). Freaky Friday (2003) remains her highest-grossing film, while Mean Girls (2004), both a critical and commercial success, became a cult classic. Her career faced many interruptions from legal and personal troubles during the late 2000s and early 2010s, but she has still appeared in 26 films (including 6 as a personality), 12 television appearances, 1 play and 5 music videos. Her films include:
Discography
Speak (2004)
A Little More Personal (Raw) (2005)
See also
List of awards and nominations received by Lindsay Lohan
List of artists who reached number one on the U.S. Dance Club Songs chart
References
Notes
Cited works
External links
1986 births
20th-century American actresses
21st-century American actresses
21st-century American singers
21st-century American women singers
Actresses from New York (state)
American child actresses
American child singers
American documentary filmmakers
American expatriate actresses in the United Kingdom
American expatriates in the United Arab Emirates
American women pop singers
American film actresses
American people convicted of theft
American people of Irish descent
American people of Italian descent
American prisoners and detainees
American soap opera actresses
American television actresses
Child pop musicians
Cold Spring Harbor Jr./Sr. High School alumni
Golden Raspberry Award winners
Living people
Lohan family
Motown artists
People from Cold Spring Harbor, New York
People from Merrick, New York
People from the Bronx
Singers from New York (state)
Universal Records artists
Women documentary filmmakers
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[
"Wang Ping, also Wang Pin, Wong Ping (; 1 October 1953-) is a retired Taiwanese film actress, working in the Cinema of Hong Kong. She starred in about 35 Hong Kong kung-fu movies, many under Shaw Brothers studios, in the 1970s, including The Chinese Boxer (1970), King Boxer (1972) and The Black Enforcer (1972). She appeared in the Shaw films . She did make one last appearance with a very minor role in Island of Greed (1997).\n\nReferences\n\nExternal links \n \n \n\nTaiwanese film actresses\nHong Kong film actresses\n1953 births\nLiving people\nActresses from Kaohsiung",
"Guddi Maruti is an Indian actress best known for her comedy roles on TV and in Bollywood movies.\n\nEarly life \nMaruti was born to an actor-director father Marutirao Parab on 4 April 1961 Her real name is Tahira Parab and she was nicknamed Guddi. Manmohan Desai gave her the screen name which is what she is known by today.\n\nCareer \nMaruti started her career at the age of 10 years as a child artist in the film Jaan Haazir Hain. After her father's death, she continued acting to support the family. Due to her physical appearance, she bagged comedy roles in films and kept on going with her career.\n\nMaruti has acted in over 97 movies since the 1980s. Over the years, she acted in TV shows and is well known for her role as Bua in the TV show Doli Armano Ki. Her popular movies include Khiladi, Shola Aur Shabnam, Aashik Aawara, Dulhe Raja and Biwi No. 1. She did not take chances to get to mainstream acting to avoid risks of being unsuccessful.\n\nIn 1995, Maruti and Vrajesh Hirjee did a stand up comedy show, Sorry Meri Lorry, which also added to her fame.\n\nShe took a career break in 2006 and rejoined the film industry in 2015. She started her career again with the comedy movie Hum Sab Ullu Hain.\n\n Personal life\nMarried\n\n Filmography \n\n Television \n Idhar Udhar (1986) as Moti Shabnam\n Agadam Bagdam Tigdam (2007) as Rosie\n Mrs. Kaushik Ki Paanch Bahuein (2012) as Paddy Aunty\n Doli Armaano Ki (2013) as Bua\n Yeh Un Dinon Ki Baat Hai (2018–2019) as Principal Ma'am VJN College\n Hello Zindagi'' (2019) as Bijoya Di\n\nReferences\n\nExternal links\n \n\n1959 births\nActresses in Hindi cinema\nIndian film actresses\nLiving people\nPlace of birth missing (living people)"
] |
[
"Lindsay Lohan",
"2005-08: Continued success and legal troubles",
"Did Lindsay Lohan ever go to jail?",
"I don't know.",
"What crimes did she commit?",
"I don't know.",
"What movies did she make in 2005-2008?",
"Lohan's next widely released film, the romantic comedy Just My Luck, opened in May 2006 and, according to Variety, earned her over $7 million."
] |
C_2a6bbe85d9ac4ceb9b281ff28685e7ca_0
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Who else starred in Just My Luck with her?
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Who else starred i widely released film Just My Luck other than Lindsay Lohan?
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Lindsay Lohan
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Lohan returned to Disney in 2005, starring in the comedy Herbie: Fully Loaded, the fifth film in the series with the anthropomorphic car Herbie. Fully Loaded earned $144 million worldwide, but it received mixed reviews. Stephen Holden of The New York Times called Lohan "a genuine star who ... seems completely at home on the screen", while James Berardinelli wrote that "as bright a starlet as she may be, Lohan ends up playing second fiddle to the car." While shooting the film in 2004, Lohan was hospitalized with a kidney infection brought on by stress in her personal life and from recording her first album while the film was in production, prompting Vanity Fair to label it Lohan's "first disastrous shoot." She also guest-starred in an episode of That '70s Show, of whose cast Wilmer Valderrama, her boyfriend at the time, was a regular member. According to Vanity Fair, the breakup with Valderrama contributed to Lohan's issues during the Herbie shoot. In 2005, Lohan became the first person to have a My Scene celebrity doll released by Mattel. She also voiced herself in the animated direct-to-DVD film My Scene Goes Hollywood: The Movie, based on the series of dolls. Following Mean Girls, Lohan spent several years living out of hotels in Los Angeles, of which two years were spent at the infamous Chateau Marmont, where comedy actor John Belushi had died. In late 2007, after settling down in a more permanent residence, she explained that she "didn't want to be alone" but that "it wasn't a way of life ... not very consistent." She had a series of car accidents that were widely reported, in August 2004, October 2005, and November 2006, when she suffered minor injuries because a paparazzo who was following her for a photograph hit her car. Lohan's next widely released film, the romantic comedy Just My Luck, opened in May 2006 and, according to Variety, earned her over $7 million. The opening weekend box office takings of $5.7 million "broke lead actress Lindsay Lohan's winning streak" according to Brandon Gray. The film received poor reviews and earned Lohan her first Golden Raspberry nomination for Worst Actress. Following Just My Luck, Lohan focused on smaller roles in more mature, independent movies. Robert Altman's ensemble comedy A Prairie Home Companion, based on humorist Garrison Keillor's works, in which Lohan co-stars with Meryl Streep and Lily Tomlin, had a limited release in June 2006. Peter Travers wrote for Rolling Stone that "Lohan rises to the occasion, delivering a rock-the-house version of 'Frankie and Johnny.'" Co-star Streep said of Lohan's acting: "She's in command of the art form" and "completely, visibly living in front of the camera." The Emilio Estevez ensemble drama Bobby, about the hours leading up to the Robert F. Kennedy assassination, was released in theaters in November 2006. Lohan received favorable comments for her performance, particularly a scene alongside Sharon Stone. As part of the Bobby ensemble cast, Lohan was nominated for a Screen Actors Guild Award. In 2006, Lohan attended Alcoholics Anonymous meetings. CANNOTANSWER
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CANNOTANSWER
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Lindsay Dee Lohan (; born July 2, 1986) is an American actress, singer, songwriter, producer, entrepreneur, and former model. Born and raised in New York City, Lohan was signed to Ford Models at the age of three. Having appeared as a regular on the television soap opera Another World at age 10, her breakthrough came in the Walt Disney Pictures film The Parent Trap (1998). The film's success led to appearances in the television films Life-Size (2000) and Get a Clue (2002), and the big-screen productions Freaky Friday (2003) and Confessions of a Teenage Drama Queen (2004).
Lohan's early work won her childhood stardom, while the teen comedy sleeper hit Mean Girls (2004) affirmed her status as a teen idol. After starring in the sports comedy film Herbie: Fully Loaded (2005), Lohan quickly became the subject of intense media coverage due to a series of personal struggles and legal troubles, as well as a number of stints in rehabilitation facilities due to substance abuse. This period saw her lose several roles and had significantly impacted her career and public image negatively. Thereafter, she appeared in films, such as A Prairie Home Companion (2006), Just My Luck (2006), Bobby (2006), Chapter 27 (2007), Machete (2010), Liz & Dick (2012), and The Canyons (2013).
Lohan then appeared on various television shows, including the docu-series Lindsay (2014), the British comedy series Sick Note (2018), the MTV reality show Lindsay Lohan's Beach Club (2019), and the musical competition show The Masked Singer Australia (2019) in which she served as a judge. She also made her stage debut in the London West End production of Speed-the-Plow (2014–2015).
Lohan rose to prominence in the music industry under Casablanca Records, releasing two studio albums, the platinum-certified Speak (2004) and gold-certified A Little More Personal (Raw) (2005). Lohan dabbled in fashion, beginning a line of her own titled 6126 and briefly serving as artistic advisor for Emanuel Ungaro in 2009. Since 2016, she has opened several nightclubs and resorts in Greece.
Early life
Lindsay Lohan was born on July 2, 1986, in the Bronx borough of New York City, and grew up in Merrick and Cold Spring Harbor on Long Island, New York. She is the eldest child of Dina, and Michael Lohan. Her father, a former Wall Street trader, has been in trouble with the law on several occasions, while her mother is a former singer and dancer. Lohan has three younger siblings, all of whom have been models or actors: Michael Jr., who appeared with Lohan in The Parent Trap, Aliana, known as "Ali", and Dakota "Cody" Lohan. Lohan is of Irish and Italian heritage, and she was raised as a Roman Catholic. Her maternal antecedents were "well known Irish Catholic stalwarts" and her great-grandfather, John L. Sullivan, was a co-founder of the Pro-life Party on Long Island. She began home-schooling in grade 11. Lohan is a natural redhead.
Lohan's parents married in 1985, separated when Lindsay was three, and later reunited. They separated again in 2005 and finalized their divorce in 2007.
Career
1989–1999: Career beginnings
Lohan began her career as a child model with Ford Models at the age of three. She modeled for Calvin Klein Kids and Abercrombie, and appeared in over 60 television commercials for brands like Pizza Hut and Wendy's, as well as a Jell-O spot with Bill Cosby. By the age of 10, when Lohan played Alexandra "Alli" Fowler in the television soap opera Another World, Soap Opera Magazine said she was already considered a show-business veteran.
Lohan remained in her role on Another World for a year, before leaving to star in Disney's 1998 family comedy The Parent Trap, a remake of the 1961 movie. She played dual roles of twins, separated in infancy, who try to reunite their long-divorced parents, played by Dennis Quaid and Natasha Richardson. The film earned $92 million worldwide, and received largely positive reviews. Lohan received unanimous acclaim for her debut performance. Critic Kenneth Turan called Lohan "the soul of this film as much as Hayley Mills was of the original", going on to say that "she is more adept than her predecessor at creating two distinct personalities." The film won Lohan a Young Artist Award for best performance in a feature film as well as a three-film contract with Disney. At the age of 14, Lohan played Bette Midler's daughter in the pilot episode of the short-lived series Bette, but she resigned her role when the production moved from New York to Los Angeles.
2000–2003: Success with Disney films
Lohan starred in two made-for-TV movies: Life-Size alongside Tyra Banks in 2000, and Get a Clue in 2002. In 2003, Lohan starred alongside Jamie Lee Curtis in the 2003 remake of Disney's family comedy Freaky Friday, playing a mother and daughter who switch bodies and have to take on each other's roles. At Lohan's initiative, her character was rewritten and changed from a Goth style to be more mainstream. Her performance was once again met with significant praise. Critic Roger Ebert wrote that Lohan "has that Jodie Foster sort of seriousness and intent focus beneath her teenage persona." Freaky Friday earned Lohan the award for Breakthrough Performance at the 2004 MTV Movie Awards and, , it remained her most commercially successful film, earning $160 million worldwide as well as an 87 percent approval rating on Rotten Tomatoes.
Emilio Estefan and his wife, Gloria Estefan, signed Lohan to a five-album production deal in September 2002. Lohan landed the role as the daughter in Disney's remake, Freaky Friday, also that month, which required her to learn how to play the guitar and to sing. Lohan recorded a song for the film, "Ultimate", which was released to Radio Disney to help promote the film. The song peaked at number 18 on Radio Disney's Top 30. Lohan announced that the song was separate from her singing career since many teen idols such as Hilary Duff and Raven-Symoné were expanding their careers from acting to singing. In 2003, Lohan recorded four songs that were released for the soundtrack to Lohan's film, Confessions of a Teenage Drama Queen, including a Radio Disney hit, "Drama Queen (That Girl)."
She had begun working with Diane Warren and Randy Jackson, who were going to help write and produce her album. Diane Warren wrote the song "I Decide" for Lohan, which was originally going to be on her album. When Lohan decided not to collaborate with Warren and Jackson, "I Decide" was instead released on the soundtrack to the film The Princess Diaries 2: Royal Engagement and on to Radio Disney.
2004–2006: Status as teen idol and music releases
Lohan began writing the tracks on her album in April 2004. "I write a lot of lyrics and I'm involved in the producing process, because it's like, if I'm singing it, I want it to be something that I can relate to," Lohan said. "I'm just trying to feel it out and see where it goes. I'm playing guitar and
I also love to dance, so [the music will be] somewhere along the lines of hip-hop and rock."
Lohan's debut album, Speak, was released in the United States on December 7, 2004. The album was the first high-seller from Casablanca Records in several years, selling 1,000,000 units in the United States. The album received mostly negative reviews, with critics commenting that Lohan "isn't a bad singer, but not an extraordinary singer either." In the United States, the album peaked at number four on the Billboard 200, selling 261,762 copies in its first week. In Germany the album debuted at number 53 and took four weeks to complete its chart run. The first two singles from Speak, "Rumors" and "Over", were both successes, with "Over" topping the Bubbling Under Hot 100 Singles, where it stayed for three weeks. The song also did well internationally in countries such as Australia, Ireland, and the United Kingdom. "Rumors" peaked at number six on the Bubbling Under Hot 100 chart and also did well in Australia and Germany, where it reached number 14. The music video for "Rumors" was nominated for Best Pop Video at the 2005 MTV Video Music Awards. Both songs received heavy airplay on MTV's Total Request Live. The final single, "First", was released to help promote Lohan's film, Herbie: Fully Loaded. The song earned small success in Australia and Germany. Lohan promoted the album by performing the songs in a number of live appearances. A tour of Taiwan was planned, but later scrapped.
In 2004, Lohan had lead roles in two major motion pictures. The first film, Disney's teen comedy Confessions of a Teenage Drama Queen, earned a domestic box office total of $29 million, with Brandon Gray of Box Office Mojo commenting that it was "well above expectations as it was strictly for young girls." But the film was not met with critical acclaim. Robert K. Elder of the Chicago Tribune wrote that "though still a promising star, Lohan will have to do a little penance before she's forgiven for Confessions." Her second lead role that year, in the teen comedy Mean Girls, marked Lohan's first movie independent of Disney. The film was a critical and commercial success, grossing $129 million worldwide and, according to Brandon Gray, "cementing her status as the new teen movie queen." Mick LaSalle from the San Francisco Chronicle wrote that "Lohan is sensitive and appealing, a solid locus for audience sympathy." David Rooney from Variety said that "Lohan displays plenty of charm, verve and deft comic timing." Lohan received four awards at the 2004 Teen Choice Awards for Freaky Friday and Mean Girls, including Breakout Movie Star. Mean Girls also earned her two awards at the 2005 MTV Movie Awards. In 2021, The New Yorker critic Richard Brody placed Lohan's performance in Mean Girls at number eleven in his list of "The Best Movie Performances of the Century So Far".
With Mean Girls, Lohan's public profile was raised significantly. Vanity Fair described how she became a household name. Paparazzi began following her and her love life and partying became frequent targets of gossip sites and the tabloid media. Following the film, which was scripted by former "Not Ready for Prime Time Actress" Tina Fey and featured several other veterans of Saturday Night Lives "Not Ready for Prime Time Company", Lohan hosted the show three times between 2004 and 2006. In 2004, when Lohan was 17, she became the youngest host of the MTV Movie Awards and in 2006 she hosted the 2006 World Music Awards. Lohan returned to Disney in 2005, starring in the comedy Herbie: Fully Loaded, the fifth film in the series with the anthropomorphic Volkswagen Beetle Herbie. Fully Loaded earned $144 million worldwide, but it received mixed reviews. Stephen Holden of The New York Times called Lohan "a genuine star who ... seems completely at home on the screen", while James Berardinelli wrote that "as bright a starlet as she may be, Lohan ends up playing second fiddle to the car." In 2005, Lohan became the first person to have a My Scene celebrity doll released by Mattel. She also voiced herself in the animated direct-to-DVD film My Scene Goes Hollywood: The Movie, based on the series of dolls.
Lohan's second album, A Little More Personal (Raw), was released in December 2005. It peaked at number 20 on the Billboard 200 chart, and was eventually certified Gold. Lohan co-wrote most of the songs on the album, which received a mixed critical response. Slant Magazine called it "contrived ... for all the so-called weighty subject matter, there's not much meat on these bones." Lohan herself directed the music video for the album's only single, "Confessions of a Broken Heart (Daughter to Father)", which features her sister Aliana Lohan. The video is a dramatization of the pain Lohan said her family suffered at the hands of her father. It was her first song to chart on the Billboard Hot 100, peaking at number 57.
2006–2008: Interruptions and mature film roles
Lohan's next widely released film, the romantic comedy Just My Luck, opened in May 2006 and, according to Variety, earned her over $7 million. The opening weekend box office takings of $5.7 million "broke lead actress Lindsay Lohan's winning streak" according to Brandon Gray. The film received poor reviews and earned Lohan her first Golden Raspberry nomination for Worst Actress. Following Just My Luck, Lohan focused on smaller roles in more mature, independent movies. Robert Altman's ensemble comedy A Prairie Home Companion, based on humorist Garrison Keillor's works, in which Lohan co-stars with Meryl Streep and Lily Tomlin, had a limited release in June 2006. Peter Travers wrote for Rolling Stone that "Lohan rises to the occasion, delivering a rock-the-house version of 'Frankie and Johnny.'" Co-star Streep said of Lohan's acting: "She's in command of the art form" and "completely, visibly living in front of the camera." The Emilio Estevez ensemble drama Bobby, about the hours leading up to the Robert F. Kennedy assassination, was released in theaters in November 2006. Lohan received favorable comments for her performance, particularly a scene alongside Sharon Stone. As part of the Bobby ensemble cast, Lohan was nominated for a Screen Actors Guild Award.
Lohan's next appearance was in Chapter 27 as a John Lennon fan who befriends Mark David Chapman, played by Jared Leto, on the day he murders Lennon. Filming finished in early 2006, but the film was not released until March 2008 due to difficulties in finding a distributor. In May 2007, the drama Georgia Rule was released. In the film, Lohan portrays an out-of-control teenager whose mother (Felicity Huffman) brings her to the house of her own estranged mother (Jane Fonda). Owen Gleiberman of Entertainment Weekly wrote that "Lohan hits a true note of spiteful princess narcissism." During filming in 2006, Lohan was hospitalized, her representative saying "she was overheated and dehydrated." In a letter that was made public, studio executive James G. Robinson called Lohan "irresponsible and unprofessional." He mentioned "various late arrivals and absences from the set" and said that "we are well aware that your ongoing all night heavy partying is the real reason for your so-called 'exhaustion.'" In 2007, Lohan was cast in the film Poor Things, which she ultimately lost.
In early January 2007, production on the film I Know Who Killed Me was put on hold when Lohan underwent appendix surgery. While Lohan was in rehab, she continued shooting the film, returning to the facility at night. Shortly thereafter, Lohan withdrew from a film adaptation of Oscar Wilde's A Woman of No Importance, her publicist stating that Lohan needed to "focus on getting better." Lohan was replaced in The Edge of Love in April 2007, shortly before filming was to begin, with the director citing "insurance reasons" and Lohan later explaining that she "was going through a really bad time then."
In the wake of her second DUI arrest, Lohan withdrew from a scheduled appearance on The Tonight Show with Jay Leno in which she had been due to promote I Know Who Killed Me, a psychological horror-thriller in which she stars as a stripper with a dual personality. The film premiered in July 2007 to what Entertainment Weekly called "an abysmal $3.5 million." It earned Lohan dual Golden Raspberry awards for Worst Actress, with Lohan coming first and second, tying with herself. Hollywood executives and industry insiders commented that it would be difficult for Lohan to find employment until she could prove that she was sober and reliable, citing possible issues with securing insurance.
2008–2011: Continued delays
In May 2008, Lohan made her first screen appearance since I Know Who Killed Me, on ABC's television series Ugly Betty. She guest starred in four episodes as Kimmie Keegan, an old schoolmate of the protagonist Betty Suarez. In the comedy Labor Pains, Lohan plays a woman who pretends to be pregnant. During the shoot, Lohan's manager worked with the paparazzi to encourage the media to show her work, as opposed to partying. It was originally planned for a theatrical release, but instead appeared as a TV movie on the ABC Family cable channel in July 2009, "a setback for the star" according to Variety. The premiere received 2.1 million viewers, "better-than-average" for the channel according to E! Online. Alessandra Stanley of The New York Times wrote that "this is not a triumphant return of a prodigal child star. ... [Labor Pains] never shakes free of the heavy baggage Ms. Lohan brings to the role." Lohan was a guest judge on US TV style contest Project Runway sixth-season premiere episode, which aired in August 2009.
Lohan narrated and presented the British television documentary Lindsay Lohan's Indian Journey, about human trafficking in India. It was filmed during a week in India in December 2009, and transmitted on BBC Three in April 2010. The BBC was criticized for having hired Lohan, and while reviewers called the documentary compelling, they also found Lohan's presence to be odd and distracting. Lohan said: "I hope my presence in India will bring awareness to the really important issues raised in making this film." In April 2010, Lohan was let go from the film The Other Side where she had been set to star, with the director saying she was "not bankable."
Following a switch to Universal Motown, Lohan began working on a third album, tentatively titled Spirit in the Dark, in late 2007. In May 2008, the single "Bossy" was released onto digital outlets, and reached number one on the US Billboard Hot Dance Club Play chart.
The song was meant to serve as the lead single from the album. Later that year, Lohan said that work on the album had stalled and that she wanted to avoid the stress of working on movies and music at the same time.
In June 2010, Lohan was the subject of a fashion shoot in the photographer docu-series Double Exposure on Bravo. Robert Rodriguez's action exploitation film Machete opened in September 2010. In the film, Lohan's character takes drugs, is naked in much of her appearance, and later dons a nun's habit while toting a machine gun. Its critical reviews were mixed. The Washington Post described her character as "a campier, trampier version of herself – or at least her tabloid image." Premiere.com said she was "terrible" while Variety called it "her best work in some time." Because of her rehabilitation and legal engagements, Lohan did not participate in promotion of the movie. Lohan filmed a sketch where she is dressed as Marilyn Monroe for Inappropriate Comedy in 2010. The film had issues finding a distributor and was not released until 2013, when it was met with poor box office and critical reception. Lohan appeared on the October 2010 cover of Vanity Fair. She told the magazine: "I want my career back" and "I know that I'm a damn good actress."
2012–2017: Television work and stage debut
Lohan had not appeared on Saturday Night Live since 2006, when she hosted the show for the fourth time in March 2012. Her appearance received mixed to negative reviews. Critics appreciated the self-deprecating references to her personal troubles, but also commented that she largely played a supporting role. The episode had the second highest ratings of the season with 7.4 million viewers. In May 2012, Lohan appeared briefly, as a celebrity judge, on the television series Glee, in the episode "Nationals." Lohan stars as a surfer in the art film First Point by artist Richard Phillips. It debuted at Art Basel in June 2012 and features a score by Thomas Bangalter from Daft Punk. Comments from critics on Lohan's work were mixed. Lohan starred as Elizabeth Taylor in the biographical made-for-TV movie Liz & Dick, which premiered on the Lifetime cable channel in November 2012. Reviews of Lohan's performance were largely, but not unanimously, negative. The Hollywood Reporter said she was "woeful" while Variety called her "adequate." Entertainment Weekly described the premiere ratings of 3.5 millions as "a little soft." During the production, paramedics were called to Lohan's hotel room, treating her for exhaustion and dehydration. In April 2013, the horror comedy Scary Movie 5 was released, where Lohan appears as herself alongside Charlie Sheen in the opening sketch. While the movie itself was panned by critics, a few reviewers found Lohan's and Sheen's to be one of the better scenes. Lohan also guest-starred as herself in an April 2013 episode of Sheen's comedy series Anger Management.
In August 2013, just days after Lohan left rehab, The Canyons was released, an independent erotic thriller directed by Paul Schrader and written by Bret Easton Ellis. It was made on a low budget, most of which was gathered through online fund raiser Kickstarter. Lohan received $100 a day and a share of the profits, and she was also credited as a co-producer. The New York Times Magazine described Lohan as difficult to work with, and the shoot as fraught with conflict between Lohan and Schrader. Lohan and her co-star, adult-film actor James Deen, portray an actress and a producer in a volatile relationship. Reviews for the film were generally poor, but several critics praised Lohan's performance. The New Yorker said she was "overwrought and unfocused" while Variety called her "very affecting" and Salon described her as "almost incandescent." The same month Lohan filled in for Chelsea Handler as host of the cable talk show Chelsea Lately. She received mostly positive reviews for her appearance and the show garnered its best ratings of the year.
The 8-part docu-series Lindsay was transmitted in March and April 2014 on Oprah Winfrey's OWN cable network. The series followed Lohan's life and work as she moved to New York City after leaving rehab. In the final episode, Lohan said that she had had a miscarriage which had interrupted filming of the series. The premiere had 693,000 viewers, described as "so-so" by The Hollywood Reporter. The ratings then slipped and the finale only had 406,000 viewers. New York Daily News called the series "surprisingly routine", Variety described it as boring, while Liz Smith said it was "compelling" and "usually painful to watch." In December 2013, Lohan introduced Miley Cyrus before her set at Dick Clark's New Year's Rockin' Eve. In April 2014, Lohan guest-starred in an episode of the CBS sitcom 2 Broke Girls. Around this time, Lohan had also announced and began promoting a film she was set to star in titled Inconceivable, which was never produced for unknown reasons.
Lohan made her stage debut in October 2014, starring in the London West End production of David Mamet's Speed-the-Plow, a satire about the movie business. She portrayed Karen, the secretary of a Hollywood executive, in a role originally played by Madonna. Reviews of Lohan's performance were mixed, with the Associated Press describing critical reception overall as "lukewarm." The Stage said she was "out of her league" while The Times wrote that she "can act a bit" and The Guardian said she "holds the stage with ease."
In 2015, the English band Duran Duran announced that Lohan was featured on the song "Danceophobia" from their fourteenth studio album, Paper Gods.
2018–present: Return to music and acting comeback
In June 2015, Lohan filmed the supernatural thriller, Among the Shadows. The film saw a series of delays with its release and was eventually listed for sale at the European Film Market at the Berlin International Film Festival in February 2018. It was released on March 5, 2019, by Momentum Pictures.
In October 2016, Lohan opened her first nightclub, in collaboration with her ex-business partner Dennis Papageorgiou, named "Lohan Nightclub", in Athens, Greece.
In July 2018, the second season of Sick Note —in which Lohan has a recurring role— premiered on Sky One. In May 2018, she opened a resort on the Greek island Mykonos called "Lohan Beach House Mykonos" and later her second resort in Ialisos Beach, Rhodes, called "Lohan Beach House Rhodes." In July 2018, People magazine revealed that Lohan had signed on to star in an MTV reality series, Lindsay Lohan's Beach Club focusing on the Mykonos Beach House and her career and business ventures. The series premiered on January 8, 2019, on MTV. The show was canceled after one season. As of June 2019, the beach club is no longer open in Mykonos.
In July 2019, it was announced that Lohan will be one of the panelists on the Australian edition of Masked Singer. It was announced on October 10 that Lohan will return for season two of The Masked Singer. On July 7, 2020, it was revealed that Lohan would be unable to return to the judging panel in the second season, as she could not travel from Dubai to Melbourne because of the COVID-19 pandemic and the implementation of travel restrictions. She was replaced for season 2 by new panelist, comedian Urzila Carlson.
In June 2019, Page Six reported that Lohan had re-signed with Casablanca Records to record and release her third studio album, along with "a couple of soundtracks." In July, Lohan confirmed signing a joint deal with Casablanca and Republic Records. In August 2019, a snippet of a song titled "Xanax" was premiered by radio host Kris Fade on Virgin Radio Dubai. Lohan then teased her song again in late-December, announcing in January that her first album in 15 years would be released at the end of February.
On April 1, 2020, Lohan announced her album's lead single, "Back to Me." The song was released on April 3 and received positive reviews from critics.
Lohan has announced several upcoming films including one titled Frame, which she is set to star in, as well an untitled film based on the book Honeymoon, which Lohan is writing the script for. During her appearance on CNN's 2019 New Year's Eve special, Lohan announced she would be coming back to the United States for a Hollywood comeback. Lohan also announced that she is managing her younger sister Ali's music career.
In March 2021, Lohan auctioned a single called Lullaby. In May 2021, Netflix announced that Lohan was set to star in Falling for Christmas, a Christmas romantic comedy about a woman who suffers amnesia following a skiing accident and finds herself in the care of a blue-collar lodge owner. The film began filming in November 2021, and is to be directed and co-written by Janeen Damian, with a release date set for late 2022.
Other ventures
Fashion and modeling
Lohan has been the face of Jill Stuart, Miu Miu, and, as well as the 2008 Visa Swap British fashion campaign. She was also the face of Italian clothing company Fornarina for its Spring–Summer 2009 campaign. Lohan has a long-lasting fascination with Marilyn Monroe going back to when she saw Niagara during The Parent Trap shoot. In the 2008 Spring Fashion edition of New York magazine, Lohan re-created Monroe's final photo shoot, known as The Last Sitting, including nudity, saying that the photo shoot was "an honor." The New York Times critic Ginia Bellafante found it disturbing, saying "the pictures ask viewers to engage in a kind of mock necrophilia. ... [and] the photographs bear none of Monroe's fragility."
In 2008, Lohan launched a clothes line, whose name 6126 was designed to represent Monroe's birth date (June 1, 1926). The line started with leggings, before expanding to a full collection, covering 280 pieces . In January 2009, Lohan appeared as a guest judge on Project Runway. In September 2009, Lohan became an artistic adviser for the French fashion house Emanuel Ungaro. A collection by designer Estrella Archs with Lohan as adviser was presented in October, receiving a "disastrous" reception, according to Entertainment Weekly and New York. Lohan left the company in March 2010. Lohan appeared in the January–February 2012 issue of Playboy magazine, in a shoot inspired by a nude pictorial of Marilyn Monroe from the first issue of the magazine. Editor Hugh Hefner said Lohan's issue was "breaking sales records."
In early 2018, Lohan announced plans on developing a makeup brand separate from her fashion brand and stated that it was still in its early stages of development.
Apps
In December 2014, the free-to-play video game app Lindsay Lohan's The Price of Fame was released for the iOS and Android operating systems. Polygon said it was "funny, trashy and surprisingly self-aware" while Vulture called it "a crappy knockoff of Kim Kardashian: Hollywood."
In June 2017, Lohan announced she was starting a lifestyle site called Preemium, which subscribers could access for $2.99 a month.
In October 2021, Lohan announced that she would be hosting a podcast through Studio 71.
Personal life
Lohan began dating actor Wilmer Valderrama in 2004, Hard Rock Cafe heir Harry Morton in 2006, and DJ Samantha Ronson in 2008 and 2009. In April 2009, following her breakup with Ronson, Lohan appeared in a dating video spoof on the comedy website Funny or Die. It was viewed 2.7 million times in the first week and received favorable comments from the media. In 2016, Lohan was engaged to London-based Russian millionaire Egor Tarabasov, owner of the real estate agency Home House Estates and son of Dmitry Tarabasov. They reportedly split up in mid-2017, with Lohan accusing Tarabasov of abuse and him accusing her of stealing £24,000 worth of his belongings. On November 28, 2021, Lohan announced her engagement to financier Bader Shammas after three years of dating.
Lohan spoke about her turbulent childhood in 2007, the same year her parents finalized their divorce: "I feel like a second parent in the sense that I helped raise my family ... I was put between my mother and father a lot." Despite the conflicts, Lohan spoke very fondly of her family. However, in 2007, 2008, and 2009 she admitted that she had cut off contact with her father, describing his behavior as unpredictable and hard to deal with.
Filmography
After beginning her acting career as a child actor in the early 1990s, Lohan, at age 11, made her film debut in Disney's successful remake of The Parent Trap (1998). Freaky Friday (2003) remains her highest-grossing film, while Mean Girls (2004), both a critical and commercial success, became a cult classic. Her career faced many interruptions from legal and personal troubles during the late 2000s and early 2010s, but she has still appeared in 26 films (including 6 as a personality), 12 television appearances, 1 play and 5 music videos. Her films include:
Discography
Speak (2004)
A Little More Personal (Raw) (2005)
See also
List of awards and nominations received by Lindsay Lohan
List of artists who reached number one on the U.S. Dance Club Songs chart
References
Notes
Cited works
External links
1986 births
20th-century American actresses
21st-century American actresses
21st-century American singers
21st-century American women singers
Actresses from New York (state)
American child actresses
American child singers
American documentary filmmakers
American expatriate actresses in the United Kingdom
American expatriates in the United Arab Emirates
American women pop singers
American film actresses
American people convicted of theft
American people of Irish descent
American people of Italian descent
American prisoners and detainees
American soap opera actresses
American television actresses
Child pop musicians
Cold Spring Harbor Jr./Sr. High School alumni
Golden Raspberry Award winners
Living people
Lohan family
Motown artists
People from Cold Spring Harbor, New York
People from Merrick, New York
People from the Bronx
Singers from New York (state)
Universal Records artists
Women documentary filmmakers
| false |
[
"Aryeman Ramsay (;born on 22 August 1980), popularly known simply as Aryeman, is an Indian actor who appears in Bollywood films. He is the son of producer Keshu, and also a social activist.\n\nStarting off his career by socializing in game advertisements, Ramsay made his Bollywood debut in Family: Ties of Blood (2006) and was nominated a Filmfare Best Male Debut Award for his performance. Following through with acclaimed performances in films like Good Luck! (2008) and Ek Aadat (2010), which was his only commercial and critical success movie yet, even though he believes that \"a few bumps, that's when you hit the jackpot!\"\n\nEarly life\n\nAryeman was born on 22 August 1980, by Keshu Ramsay (part of the Ramsay Brothers) whose family are Sindhis. He attended Mithibai College, in Mumbai. His big break came when his father offered him a role in his action drama film, Family - Ties of Blood (2006), in which he co-starred with Akshay Kumar and Amitabh Bachchan, although the film failed, he still got nominated for a Filmfare Best Male Debut Award.\n\nFilm career\n\nAryeman basically started his acting career by playing a small role as a child-artist in 1991 in the romance film Saugandh, which starred Akshay Kumar. He then debuted as an adult in his home-production, Family - Ties of Blood, co-starring Amitabh Bachchan, Akshay Kumar again and Bhumika Chawla. Even with a multi-strong cast and crew, the film flopped badly at the box office in India.\n\nHe then starred in the 2008 comedy film Good Luck!, along with Sayali Bhagat, Lucky Ali and Ranvir Shorey. Good Luck! was an official remake of the 2006 Hollywood film Just My Luck. Even though Just My Luck was a blockbuster on Box office Mojo, Good Luck! was an absolute disappointment at Box Office India. The film was typed to be the biggest flop of the year 2008 and it seems Good Luck! did not have any luck at all.\n\nand In 2009, he also appeared in Tom, Dick, and Harry Rock Again! which is a sequel to the 2006 comedy flick Tom, Dick, and Harry!\n\nIn 2010, he starred in the romantic comedy film Ek Aadat. The film received mix reviews, but mostly negative, and still was Aryeman's first critical and commercial success at the box office.\n\nIn 2011, He was filming for Main Osama, where he plays MI chief Karan Choudhary.\n\nHe released Ranbanka in November 2015.\n\nFilmography\n\nExternal links\n \n\nMale actors from Delhi\nLiving people\n1980 births\nMale actors in Hindi cinema",
"Sophie Kathrin Luck (born 17 October 1989) is an Australian actress best known for her roles on the television shows Blue Water High and Home and Away.\n\nBiography\n\nPersonal life\nLuck has had drama lessons since the age of seven. She has trained with the Performing Arts Academy, and is currently continuing her acting and singing courses in its professional training program. In her spare time Luck enjoys dancing, surfing, horse riding and spending time with friends. She attended Crestwood High School (although she was tutored while on set) and undertook the Higher School Certificate in 2007. Luck is known to be a Christian and attends Hillsong Church. She has a younger sister, Stephanie, who also attended Crestwood High School.\n\nTV/Film\nLuck had a five-month role on Home and Away as Tamara Simpson. Luck starred in Blue Water High as Fiona \"Fly\" Watson, appearing in all three seasons. Other film and TV credits include Don't Blame Me, Snobs and Water Rats. On 3 February 2009, Luck guest starred on the Season 12 premiere of All Saints as 'Lacey'.\n\nAwards\nLuck won the 2005 Australian Film Institute Award for Best Young Actor. She was also nominated for a 2007 Nickelodeon Kids' Choice Award.\n\nFilmography\n\nFilm\n\nTelevision\n\nReferences\n\nExternal links\n Official Sophie Luck Website\n \n\nAustralian child actresses\nAustralian soap opera actresses\nPeople from Sydney\nLiving people\n1989 births"
] |
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"Carmen Miranda",
"In popular culture"
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What can you tell me interesting about this article
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What can you tell me interesting about this article about Carmen Miranda and popular culture?
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Carmen Miranda
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In The House Across the Bay (1940, produced by Walter Wanger and released by United Artists), Joan Bennett performed the Mirandaesque "Chula Chihuahua." Babes on Broadway's (1941) finale opens with "Bombshell from Brazil", where Mickey Rooney (dressed as Miranda) sings "Mamae Eu Quero". The finale of Time Out for Rhythm (1941) begins with the Three Stooges performing a rumba number; Curly Howard is dressed as Carmen Miranda. The United Fruit Company created a banana-woman character in 1944, Chiquita, whose fruit hat resembled Miranda's. In Mildred Pierce, Jo Ann Marlowe sings a Mirandaesque South American Way. In "Be a Pal", a season-one episode of I Love Lucy, Lucille Ball imitates Miranda and lip-syncs to "Mamae Eu Quero". Caetano Veloso appeared dressed as Miranda in January 1972, in his first show after his return to Brazil from London. Helena Solberg filmed a documentary, Carmen Miranda: Bananas is My Business, in 1995. Eduardo Dusek recorded a cover version of the song "Ta-Hi (Pra Voce Gostar de Mim)", written by Joubert de Carvalho and recorded by Miranda in 1930, for the 2003 telenovela Chocolate com Pimenta. In 2007, BBC Four produced Carmen Miranda - Beneath the Tutti Frutti Hat, a one-hour documentary which included interviews with biographer Ruy Castro, niece Carminha and Mickey Rooney. That year, singer Ivete Sangalo recorded a cover version of the song "Chica Chica Boom Chic" for the DVD MTV ao Vivo. For Miranda's centenary, Daniela Mercury recorded a "duet" with the singer on a cover of "O Que E Que A Baiana Tem?", which includes the original 1939 recording. The romantic fantasy film The Shape of Water (2017) features Miranda's hit song "Chica Chica Boom Chic". CANNOTANSWER
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Helena Solberg filmed a documentary, Carmen Miranda: Bananas is My Business,
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Carmen Miranda, (; born Maria do Carmo Miranda da Cunha, 9 February 1909 – 5 August 1955) was a Portuguese-born Brazilian samba singer, dancer, Broadway actress and film star who was active from the late 1920s onwards. Nicknamed "The Brazilian Bombshell", Miranda was known for her signature fruit hat outfit that she wore in her American films. As a young woman, she designed hats in a boutique before making her first recordings with composer Josué de Barros in 1929. Miranda's 1930 recording of "Taí (Pra Você Gostar de Mim)", written by Joubert de Carvalho, catapulted her to stardom in Brazil as the foremost interpreter of samba.
During the 1930s, Miranda performed on Brazilian radio and appeared in five Brazilian chanchadas, films celebrating Brazilian music, dance and the country's carnival culture. Hello, Hello Brazil! and Hello, Hello, Carnival! embodied the spirit of these early Miranda films. The 1939 musical Banana da Terra (directed by Ruy Costa) gave the world her "Baiana" image, inspired by Afro-Brazilians from the north-eastern state of Bahia.
In 1939, Broadway producer Lee Shubert offered Miranda an eight-week contract to perform in The Streets of Paris after seeing her at Cassino da Urca in Rio de Janeiro. The following year she made her first Hollywood film, Down Argentine Way with Don Ameche and Betty Grable and her exotic clothing and Lusophone accent became her trademark. That year, she was voted the third-most-popular personality in the United States; she and her group, Bando da Lua, were invited to sing and dance for President Franklin D. Roosevelt. In 1943, Miranda starred in Busby Berkeley's The Gang's All Here, which featured musical numbers with the fruit hats that became her trademark. By 1945, she was the highest-paid woman in the United States.
Miranda made fourteen Hollywood films between 1940 and 1953. Although she was hailed as a talented performer, her popularity waned by the end of World War II. Miranda came to resent the stereotypical "Brazilian Bombshell" image she had cultivated and attempted to free herself of it with limited success. She focused on nightclub appearances and became a fixture on television variety shows. Despite being stereotyped, Miranda's performances popularized Brazilian music and increased public awareness of Latin culture. In 1941, she was the first Latin American star to be invited to leave her hand and footprints in the courtyard of Grauman's Chinese Theatre and was the first South American honored with a star on the Hollywood Walk of Fame. Miranda is considered the precursor of Brazil's 1960s Tropicalismo cultural movement. A museum was built in Rio de Janeiro in her honor and she was the subject of the documentary Carmen Miranda: Bananas is My Business (1995).
Early life
Miranda was born Maria do Carmo Miranda da Cunha in , a village in the northern Portuguese municipality of Marco de Canaveses. She was the second daughter of José Maria Pinto da Cunha (17 February 1887 – 21 June 1938) and Maria Emília Miranda (10 March 1886, Rio de Janeiro – 9 November 1971). In 1909, when Miranda was ten months old, her father emigrated to Brazil and settled in Rio de Janeiro, where he opened a barber shop. Her mother followed in 1910 with their daughters, Olinda (1907–1931) and Carmen. Although Carmen never returned to Portugal, she retained her Portuguese nationality. In Brazil, her parents had four more children: Amaro (born 1911), Cecília (1913–2011), Aurora (1915–2005) and Óscar (born 1916).
She was christened Carmen by her father because of his love for Bizet's Carmen. This passion for opera influenced his children, and Miranda's love for singing and dancing, at an early age. She was educated at the Convent of Saint Therese of Lisieux. Her father did not approve of Miranda's plans to enter show business; her mother supported her, despite being beaten when her father discovered that his daughter had auditioned for a radio show (she had sung at parties and festivals in Rio). Miranda's older sister, Olinda, developed tuberculosis and was sent to Portugal for treatment; the singer worked in a tie shop at age 14 to help pay her sister's medical bills. She then worked in a boutique (where she learned to make hats), and opened a successful hat business.
Career
In Brazil
Miranda was introduced to Josué de Barros, a composer and musician from Bahia, while she was working at her family's inn. With help from de Barros and Brunswick Records, she recorded her first single (the samba "Não vá Simbora") in 1929. Miranda's second single, "Prá Você Gostar de Mim" (also known as "Taí", and released in 1930), was a collaboration with Brazilian composer Joubert de Carvalho and sold a record 35,000 copies that year. She signed a two-year contract with RCA Victor in 1930, giving them exclusive rights to her image.
In 1933 Miranda signed a two-year contract with Rádio Mayrink Veiga, the most popular Brazilian station of the 1930s, and was the first contract singer in Brazilian radio history; for a year, in 1937, she moved to Rádio Tupi. She later signed a contract with Odeon Records, making her the highest-paid radio singer in Brazil at the time.
Miranda's rise to stardom in Brazil was linked to the growth of a native style of music: the samba. The samba and Miranda's emerging career enhanced the revival of Brazilian nationalism during the government of President Getúlio Vargas. Her gracefulness and vitality in her recordings and live performances gave her the nickname "Cantora do It". The singer was later known as "Ditadora Risonha do Samba", and in 1933 radio announcer Cesar Ladeira christened her "A Pequena Notável".
Her Brazilian film career was linked to a genre of musical films that drew on the nation's carnival traditions and the annual celebration and musical style of Rio de Janeiro, Brazil's capital at the time. Miranda performed a musical number in O Carnaval Cantado no Rio (1932, the first sound documentary on the subject) and three songs in A Voz do Carnaval (1933), which combined footage of street celebrations in Rio with a fictitious plot providing a pretext for musical numbers.
Miranda's next screen performance was in the musical Hello, Hello Brazil! (1935), in which she performed its closing number: the marcha "Primavera no Rio", which she had recorded for Victor in August 1934. Several months after the film's release, according to Cinearte magazine, "Carmen Miranda is currently the most popular figure in Brazilian cinema, judging by the sizeable correspondence that she receives". In her next film, Estudantes (1935), she had a speaking part for the first time. Miranda played Mimi, a young radio singer (who performs two numbers in the film) falls in love with a university student (played by singer Mário Reis).
She starred in the next co-production from the Waldow and Cinédia studios, the musical Hello, Hello, Carnival! (1936), which contained a roll call of popular-music and radio performers (including Miranda's sister, Aurora). A standard backstage plot permitted 23 musical numbers and, by contemporary Brazilian standards, the film was a major production. Its set reproduced the interior of Rio's plush Atlântico casino (where some scenes were filmed) and was a backdrop for some of its musical numbers. Miranda's stardom is evident in a film poster with a full-length photograph of her and her name topping the cast list.
Although she became synonymous with colorful fruit hats during her later career, she began wearing them only in 1939. Miranda appeared in the film Banana da Terra that year in a glamorous version of the traditional dress of a poor black girl in Bahia: a flowing dress and a fruit-hat turban. She sang "O que é que a baiana tem?"; which intended to empower a social class that was usually disparaged.
Producer Lee Shubert offered Miranda an eight-week contract to perform in The Streets of Paris on Broadway after seeing her perform in 1939 at Rio's Cassino da Urca. Although she was interested in performing in New York, she refused to accept the deal unless Shubert agreed to also hire her band, the Bando da Lua. He refused, saying that there were many capable musicians in New York who could back her. Miranda remained steadfast, feeling that North American musicians would not be able to authenticate the sounds of Brazil. Shubert compromised, agreeing to hire the six band members but not paying for their transport to New York. President Getúlio Vargas, recognizing the value to Brazil of Miranda's tour, announced that the Brazilian government would pay for the band's transportation on the Moore-McCormack Lines between Rio and New York. Vargas believed that Miranda would foster ties between the northern and southern hemispheres and act as a goodwill ambassador in the United States, increasing Brazil's share of the American coffee market. Miranda took the official sanction of her trip and her duty to represent Brazil to the outside world seriously. She left for New York on the SS Uruguay on 4 May 1939, a few months before World War II.
In the US
Miranda arrived in New York on 18 May 1939. She and the band had their first Broadway performance on 19 June 1939 in The Streets of Paris. Although Miranda's part was small (she only spoke four words), she received good reviews and became a media sensation. According to New York Times theater critic Brooks Atkinson, most of the musical numbers "ap[e] the tawdry dullness" of genuine Paris revues and "the chorus girls, skin-deep in atmosphere, strike what Broadway thinks a Paris pose ought to be". Atkinson added, however, that "South American contributes the [revue's] most magnetic personality" (Miranda). Singing "rapid-rhythmed songs to the accompaniment of a Brazilian band, she radiates heat that will tax the Broadhurst [theater] air-conditioning plant this Summer". Although Atkinson gave the revue a lukewarm review, he wrote that Miranda made the show.
Syndicated columnist Walter Winchell wrote for the Daily Mirror that a star had been born who would save Broadway from the slump in ticket sales caused by the 1939 New York World's Fair. Winchell's praise of Carmen and her Bando da Lua was repeated on his Blue Network radio show, which reached 55 million listeners daily. The press called Miranda "the girl who saved Broadway from the World's Fair". Her fame grew quickly, and she was formally presented to President Franklin D. Roosevelt at a White House banquet shortly after her arrival. According to a Life magazine reviewer:
Partly because their unusual melody and heavy accented rhythms are unlike anything ever heard in a Manhattan revue before, partly because there is not a clue to their meaning except the gay rolling of Carmen Miranda's insinuating eyes, these songs, and Miranda herself, are the outstanding hit of the show.
When news of Broadway's latest star (known as the Brazilian Bombshell) reached Hollywood, Twentieth Century-Fox began to develop a film featuring Miranda. Its working title was The South American Way (the title of a song she had performed in New York), and the film was later entitled Down Argentine Way (1940). Although its production and cast were based in Los Angeles, Miranda's scenes were filmed in New York because of her club obligations. Fox could combine the footage from both cities because the singer had no dialogue with the other cast members. Down Argentine Way was successful, grossing $2 million that year at the US box office.
The Shuberts brought Miranda back to Broadway, teaming her with Olsen and Johnson, Ella Logan, and the Blackburn Twins in the musical revue Sons o' Fun on 1 December 1941. The show was a hodgepodge of slapstick, songs, and skits; according to New York Herald Tribune theater critic Richard Watts, Jr., "In her eccentric and highly personalized fashion, Miss Miranda is by way of being an artist and her numbers give the show its one touch of distinction." On 1 June 1942, she left the production when her Shubert contract expired; meanwhile, she recorded for Decca Records.
Miranda was encouraged by the US government as part of Roosevelt's Good Neighbor policy, designed to strengthen ties with Latin America. It was believed that performers like her would give the policy a favorable impression with the American public. Miranda's contract with 20th Century Fox lasted from 1941 to 1946, coinciding with the creation and activities of the Office of the Coordinator of Inter-American Affairs. The goal of the OCIAA was to obtain support from Latin American society and its governments for the United States.
The Good Neighbor policy had been linked to US interference in Latin America; Roosevelt sought better diplomatic relations with Brazil and other South American nations, and pledged to refrain from military intervention (which had occurred to protect US business interests in industries such as mining or agriculture). Hollywood was asked to help, and Walt Disney Studios and 20th Century Fox participated. Miranda was considered a goodwill ambassador and a promoter of intercontinental culture.
Brazilian criticism
Although Miranda's US popularity continued to increase, she began to lose favor with some Brazilians. On 10 July 1940, she returned to Brazil and was welcomed by cheering fans. Soon after her arrival, however, the Brazilian press began criticizing Miranda for accommodating American commercialism and projecting a negative image of Brazil. Members of the upper class felt that her image was "too black", and she was criticized in a Brazilian newspaper for "singing bad-taste black sambas". Other Brazilians criticized Miranda for playing a stereotypical "Latina bimbo": in her first interview after her arrival in the US in the New York World-Telegram interview, she played up her then-limited knowledge of the English language: "I say money, money, money. I say twenty words in English. I say money, money, money and I say hot dog!"
On 15 July, Miranda appeared in a charity concert organized by Brazilian First Lady Darci Vargas and attended by members of Brazil's high society. She greeted the audience in English, and was met with silence. When Miranda began singing "The South American Way", a song from one of her club acts, the audience began to boo her. Although she tried to finish her act, she gave up and left the stage when the audience refused to let up. The incident deeply hurt Miranda, who wept in her dressing room. The following day, the Brazilian press criticized her as "too Americanized".
Weeks later, Miranda responded to the criticism with the Portuguese song "Disseram que Voltei Americanizada" ("They Say I've Come Back Americanized"). Another song, "Bananas Is My Business", was based on a line from one of her films and directly addressed her image. Upset by the criticism, Miranda did not return to Brazil for 14 years.
Her films were scrutinized by Latin American audiences for characterizing Central and South America in a culturally-homogeneous way. When Miranda's films reached Central and South American theaters, they were perceived as depicting Latin American cultures through the lens of American preconceptions. Some Latin Americans felt that their cultures were misrepresented, and felt that someone from their own region was misrepresenting them. Down Argentine Way was criticized, with Argentines saying that it failed to depict Argentine culture. Its lyrics were allegedly replete with non-Argentine themes, and its sets were a fusion of Mexican, Cuban, and Brazilian culture. The film was later banned in Argentina for "wrongfully portraying life in Buenos Aires". Similar sentiments were voiced in Cuba after the debut of Miranda's Weekend in Havana (1941), with Cuban audiences offended by Miranda's portrayal of a Cuban woman. Reviewers noted that an import from Rio could not accurately portray a woman from Havana, and Miranda did not "dance anything Cuban". Her performances were arguably hybrids of Brazilian and other Latin cultures. Critics said that Miranda's other films misrepresented Latin locales, assuming that Brazilian culture was a representation of Latin America.
Peak years
During the war years, Miranda starred in eight of her 14 films; although the studios called her the Brazilian Bombshell, the films blurred her Brazilian identity in favor of a Latin American image. According to a Variety review of director Irving Cummings' That Night in Rio (1941, Miranda's second Hollywood film), her character upstaged the leads: "[Don] Ameche is very capable in a dual role, and Miss [Alice] Faye is eye-appealing but it’s the tempestuous Miranda who really gets away to a flying start from the first sequence". The New York Times article said, "Whenever one or the other Ameche character gets out of the way and lets [Miranda] have the screen, the film sizzles and scorches wickedly." Years later, Clive Hirschhorn wrote: "That Night in Rio was the quintessential Fox war-time musical – an over-blown, over-dressed, over-produced and thoroughly irresistible cornucopia of escapist ingredients." On 24 March 1941, Miranda was one of the first Latinas to imprint her hand- and footprints on the sidewalk of Grauman's Chinese Theatre.
Her next film, Week-End in Havana, was directed by Walter Lang and produced by William LeBaron. The cast included Alice Faye, John Payne, and Cesar Romero. After the studio's third effort to activate the "Latin hot blood", Fox was called "Hollywood's best good neighbor" by Bosley Crowther. During the week it was released, the film topped the box office (surpassing Citizen Kane, released a week earlier).
In 1942, 20th Century-Fox paid $60,000 to Lee Shubert to terminate his contract with Miranda, who finished her Sons o' Fun tour and began filming Springtime in the Rockies. The film, which grossed about $2 million, was one of the year's ten most-successful films at the box office. According to a Chicago Tribune review, it was "senseless, but eye intriguing ... The basic plot is splashed over with songs and dances and the mouthings and eye and hand work of Carmen Miranda, who sure would be up a tree if she ever had to sing in the dark".
In 1943, she appeared in Busby Berkeley's The Gang's All Here. Berkeley's musicals were known for lavish production, and Miranda's role as Dorita featured "The Lady in the Tutti-Frutti Hat". A special effect made her fruit-bedecked hat appear larger than possible. By then she was typecast as an exotic songstress, and under her studio contract she was obligated to make public appearances in her ever-more-outlandish film costumes. One of her records, "I Make My Money With Bananas" seemed to pay ironic tribute to her typecasting. The Gang's All Here was one of 1943's 10 highest-grossing films and Fox's most expensive production of the year. It received positive reviews, although The New York Times film critic wrote: "Mr. Berkeley has some sly notions under his busby. One or two of his dance spectacles seem to stem straight from Freud."
The following year Miranda made a cameo appearance in Four Jills in a Jeep, a film based on a true adventure of actresses Kay Francis, Carole Landis, Martha Raye, and Mitzi Mayfair; Alice Faye and Betty Grable also made brief appearances. In 1944 Miranda also starred with Don Ameche in Greenwich Village, a Fox musical with William Bendix and Vivian Blaine in supporting roles. The film was poorly received; according to The New York Times, "Technicolor is the picture's chief asset, but still worth a look for the presence of Carmen Miranda". In her Miami News review, Peggy Simmonds wrote: "Fortunately for Greenwich Village, the picture is made in Technicolor and has Carmen Miranda. Unfortunately for Carmen Miranda, the production doesn't do her justice, the overall effect is disappointing, but still she sparkles the picture whenever she appears." Greenwich Village was less successful at the box office than Fox and Miranda had expected.
Miranda's third 1944 film was Something for the Boys, a musical comedy based on the Broadway musical with songs by Cole Porter and starring Ethel Merman. It was Miranda's first film without William LeBaron or Darryl F. Zanuck as producer. The producer was Irving Starr, who oversaw the studio's second-string films. According to Time magazine, the film "turns out to have nothing very notable for anyone".
By 1945, Miranda was Hollywood's highest-paid entertainer and the top female taxpayer in the United States, earning more than $200,000 that year ($2.88 million in 2020, adjusted for inflation).
Decline
After World War II, Miranda's films at Fox were produced in black-and-white, indicative of Hollywood's diminishing interest in her and Latin Americans in general. A monochrome Carmen Miranda reduced the box-office appeal of the backstage musical, Doll Face (1945), in which she was fourth on the bill. Miranda played Chita Chula, billed in the show-within-the-film as "the little lady from Brazil"—a cheerful comic sidekick to leading lady Doll Face (Vivian Blaine) with one musical number and little dialogue. A New York Herald Tribune review read, "Carmen Miranda does what she always does, only not well"; according to The Sydney Morning Herald, "Carmen Miranda appears in a straight part with only one singing number. The innovation is not a success, but the fault is the director's not Carmen's."
In If I'm Lucky (1946), her follow-up film for Fox when she was no longer under contract, Miranda was again fourth on the bill with her stock screen persona firmly in evidence: heavily accented English, comic malapropisms, and bizarre hairstyles recreating her famous turbans. When Miranda's contract with Fox expired on 1 January 1946, she decided to pursue an acting career free of studio constraints. Miranda's ambition was to play a lead role showcasing her comic skills, which she set out to do in Copacabana (1947, an independent production released by United Artists starring Groucho Marx). Although her films were modest hits, critics and the American public did not accept her new image.
Although Miranda's film career was faltering, her musical career remained solid and she was still a popular nightclub attraction. From 1948 to 1950, she joined the Andrews Sisters in producing and recording three Decca singles. Their first collaboration was on radio in 1945, when Miranda appeared on ABC's The Andrews Sisters Show. Their first single, "Cuanto La Gusta", was the most popular and reached number twelve on the Billboard chart. "The Wedding Samba", which reached number 23, followed in 1950.
After Copacabana, Joe Pasternak invited Miranda to make two Technicolor musicals for Metro-Goldwyn-Mayer: A Date with Judy (1948) and Nancy Goes to Rio (1950). In the first production MGM wanted to portray a different image, allowing her to remove her turban and reveal her own hair (styled by Sydney Guilaroff) and makeup (by Jack Dawn). Miranda's wardrobe for the film substituted elegant dresses and hats designed by Helen Rose for "baiana" outfits. She was again fourth on the bill as Rosita Cochellas, a rumba teacher who first appears about 40 minutes into the film and has little dialogue. Despite MGM's efforts to change Miranda's persona, her roles in both productions were peripheral, watered-down caricatures relying on fractured English and over-the-top musical and dance numbers.
In her final film, Scared Stiff (1953, a black-and-white Paramount production with Dean Martin and Jerry Lewis), Miranda's appeal was again muted. Returning full-circle to her first Hollywood film, Down Argentine Way, she had virtually no narrative function. Lewis parodies her, miming badly to "Mamãe Eu Quero" (which is playing on a scratched record) and eating a banana he plucks from his turban. Miranda played Carmelita Castilha, a Brazilian showgirl on a cruise ship, with her costumes and performances bordering on self-parody.
In April 1953, she began a four-month European tour. While performing in Cincinnati in October, Miranda collapsed from exhaustion; she was rushed to LeRoy Sanitarium by her husband, Dave Sebastian, and canceled four following performances.
Personal life
Desiring creative freedom, Miranda decided to produce her own film in 1947 and played opposite Groucho Marx in Copacabana. The film's budget was divided into about ten investors' shares. A Texan investor who owned one of the shares sent his brother, David Sebastian (23 November 1907 – 11 September 1990), to keep an eye on Miranda and his interests on the set. Sebastian befriended her, and they began dating.
Miranda and Sebastian married on 17 March 1947 at the Church of the Good Shepherd in Beverly Hills, with Patrick J. Concannon officiating. In 1948, Miranda became pregnant, but miscarried after a show. Although the marriage was brief, Miranda (who was Catholic) did not want a divorce. Her sister, Aurora, said in the documentary Bananas is My Business: "He married her for selfish reasons; she got very sick after she married and lived with a lot of depression". The couple announced their separation in September 1949, but reconciled several months later.
Miranda was discreet, and little is known about her private life. Before she left for the US, she had relationships with Mario Cunha, Carlos da Rocha Faria (son of a traditional family in Rio de Janeiro) and Aloísio de Oliveira, a member of the Bando da Lua. In the US, Miranda maintained relationships with John Payne, Arturo de Córdova, Dana Andrews, Harold Young, John Wayne, Donald Buka and Carlos Niemeyer. During her later years, in addition to heavy smoking and alcohol consumption, she began taking amphetamines and barbiturates, all of which took a toll on her health.
Death
Miranda performed at the New Frontier Hotel in Las Vegas in April 1955, and in Cuba three months later before returning to Los Angeles to recuperate from a recurrent bronchial ailment. On 4 August, she was filming a segment for the NBC variety series The Jimmy Durante Show. According to Durante, Miranda had complained of feeling unwell before filming; he offered to find her a replacement, but she declined. After completing "Jackson, Miranda, and Gomez", a song-and-dance number with Durante, she fell to one knee. Durante later said, "I thought she had slipped. She got up and said she was outa breath. I told her I'll take her lines. But she goes ahead with 'em. We finished work about 11 o'clock and she seemed happy."
After the last take, Miranda and Durante gave an impromptu performance on the set for the cast and technicians. The singer took several cast members and some friends home with her for a small party. She went upstairs to bed at about 3 a.m. Miranda undressed, placed her platform shoes in a corner, lit a cigarette, placed it in an ashtray and went into her bathroom to remove her makeup. She apparently came from the bathroom with a small, round mirror in her hand; in the small hall that led to her bedroom, she collapsed from a fatal heart attack. Miranda was 46 years old. Her body was found at about 10:30 a.m. lying in the hallway. The Jimmy Durante Show episode in which Miranda appeared was aired two months after her death, on 15 October 1955,. The episode began with Durante paying tribute to the singer, while also indicating that her family had given permission for the performance to be broadcast. A clip of the episode was included in the A&E Network's Biography episode about the singer.
In accordance with her wishes, Miranda's body was flown back to Rio de Janeiro; the Brazilian government declared a period of national mourning.
About 60,000 people attended her memorial service at the Rio town hall, and more than half a million Brazilians escorted her funeral cortège to the cemetery.
Miranda is buried in São João Batista Cemetery in Rio de Janeiro. In 1956 her belongings were donated by her husband and family to the Carmen Miranda Museum, which opened in Rio on 5 August 1976. For her contributions to the entertainment industry, Miranda has a star on the Hollywood Walk of Fame at the south side of the 6262 block of Hollywood Boulevard.
Image
Miranda's Hollywood image was that of a generic Latina, blurring distinctions between Brazil, Portugal, Argentina, and Mexico and samba, tango and habanera music. It was stylized and flamboyant; she often wore platform sandals and towering headdresses made of fruit, becoming known as "the lady in the tutti-frutti hat". Her enormous, fruit-laden hats were iconic visuals recognized worldwide; Saks Fifth Avenue developed a line of Miranda-inspired turbans and jewelry in 1939, and Bonwit Teller created mannequins resembling the singer.
Her tutti-frutti hat from The Gang's All Here (1943) inspired the United Fruit Company's Chiquita Banana logo the following year. During the 1960s, tropicália filmmakers in Brazil were influenced by Miranda's Hollywood films.
In 2009 she was the subject of São Paulo Fashion Week and a short film, Tutti Frutti, by German photographer Ellen von Unwerth. Two years later, Macy's wanted to use Miranda to promote a clothing line. Other products influenced by her stardom are the Brazilian fashion brand Malwee's "Chica Boom Chic" collection for women, and the Chica Boom Brasil company's high-end Carmen Miranda line, which includes Miranda-themed bags, wall clocks, crockery and placemats.
Legacy
According to Brazilian musician Caetano Veloso, "Miranda was first a cause of both pride and shame, and later, a symbol that inspired the merciless gaze we began to cast upon ourselves ... Carmen conquered 'White' America as no other South American has done or ever would, in an era when it was enough to be 'recognizably Latin and Negroid' in style and aesthetics to attract attention." Miranda was the first Brazilian artist to gain worldwide fame in the 1950s, and she continued to define South American music in North America for decades. In 1991, Veloso wrote that "today, anything associated with Brazilian music in America – or with any music from the Southern Hemisphere in the Northern – makes us think of Carmen Miranda. And to think of her is to think about the complexity of this relationship"
Although she was more popular abroad than in Brazil at her death, Miranda contributed to Brazilian music and culture. She was accused of commercializing Brazilian music and dance, but Miranda can be credited with bringing its national music (the samba) to a global audience. She introduced the baiana, with wide skirts and turbans, as a Brazilian showgirl at home and abroad. The baiana became a central feature of Carnival for women and men.
Since her death, Miranda is remembered as an important Brazilian artist and one of the most influential in Hollywood. She was one of 500 stars nominated for the American Film Institute's 50 greatest screen legends.
On 25 September 1998, a square in Hollywood was named Carmen Miranda Square in a ceremony headed by honorary mayor of Hollywood Johnny Grant (one of Miranda's friends since World War II) and attended by Brazilian consul general Jorió Gama and the Bando da Lua. The square is located at the intersection of Hollywood Boulevard and Orange Drive, across from Grauman's Chinese Theatre, near where Miranda gave an impromptu performance on V-J Day.
To commemorate the 50th anniversary of Miranda's death, a Carmen Miranda Forever exhibit was displayed at the Museum of Modern Art in Rio de Janeiro in November 2005 and at the Latin America Memorial in São Paulo the following year. In 2005, Ruy Castro published a 600-page biography of "the most famous Brazilian woman of the 20th century." Brazilians "tend to forget," Castro told Mac Margolis of Newsweek, that "no Brazilian woman has ever been as popular as Carmen Miranda – in Brazil or anywhere."
Dorival Caymmi's "O que é que a baiana tem?" was his first work to be recorded, and introduced to the US the samba rhythm and Miranda in 1939; it was a Latin category inductee of the 2008 National Recording registry list.
Miranda, Selena, Celia Cruz, Carlos Gardel and Tito Puente appeared on a set of commemorative US Postal Service Latin Music Legends stamps, painted by Rafael Lopez, in 2011. Marie Therese Dominguez, vice president of government relations and public policy for the postal service, said: "From this day forward, these colorful, vibrant images of our Latin music legends will travel on letters and packages to every single household in America. In this small way, we have created a lasting tribute to five extraordinary performers, and we are proud and honored to share their legacy with Americans everywhere through these beautiful stamps".
Down Argentine Way and The Gang's All Here were inductees of the 2014 National Film Registry list. The 2016 Summer Olympics closing ceremony included a tribute to Miranda before the athletes' parade, with Roberta Sá portraying the singer. On 9 February 2017, Miranda was the subject of a Google Doodle created by Google artist Sophie Diao commemorating the 108th anniversary of her birth.
In popular culture
In The House Across the Bay (1940, produced by Walter Wanger and released by United Artists), Joan Bennett performed the Mirandaesque "Chula Chihuahua." Babes on Broadway (1941) finale opens with "Bombshell from Brazil", where Mickey Rooney (dressed as Miranda) sings "Mamãe Eu Quero". The finale of Time Out for Rhythm (1941) begins with the Three Stooges performing a rumba number; Curly Howard is dressed as Carmen Miranda. In 1943's Yankee Doodle Daffy, Daffy Duck performs "Chica Chica Boom Chic" while dressed as Carmen Miranda. The United Fruit Company created a banana-woman character in 1944, Chiquita, whose fruit hat resembled Miranda's. In Small Town Deb (1942), Jane Withers does an impression of Carmen Miranda and sings "I, Yi, Yi, Yi, Yi (I Like You Very Much)," which was one of Miranda's signature songs. In the British comedy, Fiddlers Three, Tommy Trinder gives a bizarre performance as "Senorita Alvarez" from Brazil, a bold impersonation of Miranda.
The song "Mamãe Eu Quero" was featured in the 1943 Tom & Jerry short "Baby Puss", as performed by a trio of cartoon cats (Butch, Topsy and Meathead) with Topsy dressed up with a fruit hat, impersonating Carmen Miranda.
In Winged Victory (1944) Sascha Brastoff impersonates Carmen Miranda. In Mildred Pierce, Jo Ann Marlowe sings a Mirandaesque South American Way. In "Be a Pal", a season-one episode of I Love Lucy, Lucille Ball imitates Miranda and lip-syncs to "Mamãe Eu Quero".
In Diplomatic Courier (1952), during a nightclub sequence, Arthur Blake performs impersonations of Carmen Miranda, Franklin Delano Roosevelt and Bette Davis. Caetano Veloso appeared dressed as Miranda in January 1972, in his first show after his return to Brazil from London.
Jimmy Buffett's 1973 album A White Sport Coat and a Pink Crustacean contains the song "They Don't Dance Like Carmen No More".
In 1976, musician Leslie Fish wrote and recorded a song called "Carmen Miranda's Ghost," on her album Folk Songs for Folk Who Ain't Even Been Yet. The song describes the chaos that ensues when the singer's ghost appears on a space station. It was later the basis for a multi-author short story anthology edited by Don Sakers. John Cale's 1989 Words for the Dying features a song co-written with Brian Eno titled "The Soul of Carmen Miranda."
Helena Solberg filmed a documentary, Carmen Miranda: Bananas is My Business, in 1995. Eduardo Dusek recorded a cover version of the song "Tá-Hi (Pra Você Gostar de Mim)", written by Joubert de Carvalho and recorded by Miranda in 1930, for the 2003 telenovela Chocolate com Pimenta. In 2004, Caetano Veloso and David Byrne performed live at Carnegie Hall a song they had written together, "Dreamworld: Marco de Canaveses", that pays homage to Miranda. In 2007, BBC Four produced Carmen Miranda – Beneath the Tutti Frutti Hat, a one-hour documentary which included interviews with biographer Ruy Castro, niece Carminha and Mickey Rooney. That year, singer Ivete Sangalo recorded a cover version of the song "Chica Chica Boom Chic" for the DVD MTV ao Vivo. For Miranda's centenary, Daniela Mercury recorded a "duet" with the singer on a cover of "O Que É Que A Baiana Tem?", which includes the original 1939 recording.
At the Closing Ceremony of the 2016 Rio Summer Olympics, a few seconds' homage to Miranda was paid with an animated, projected image on the floor of the Maracana Stadium.
The film The Shape of Water (2017) features Miranda's song "Chica Chica Boom Chic".
Bonita Flamingo, a character in the children's show Noddy, is a flamingo spoof of Miranda.
In 2009, Miranda served as the inspiration for a photo shoot on the 12th season of the reality TV show, America's Next Top Model.
Filmography
Singles
Brazilian singles
1935
"Anoiteceu"
"Entre Outras Coisas"
"Esqueci de Sorrir"
"Foi Numa Noite Assim"
"Fogueira Do Meu Coração"
"Fruto Proibido"
"Cor de Guiné"
"Casaco de Tricô"
"Dia de Natal"
"Fala, Meu Pandeiro"
"Deixa Esse Povo Falar"
"Sonho de Papel" (recorded with Orchestra Odeon 10 May 1935)
"E Bateu-Se a Chapa" (recorded 26 June 1935)
"O Tique-Taque do Meu Coração" (recorded 7 August 1935)
"Adeus, Batucada" (recorded with Odeon Orchestra 24 September 1935)
"Querido Adão" (recorded with Odeon Orchestra 26 September 1935)
1936
"Alô, Alô, Carnaval"
"Duvi-dê-ó-dó"
"Dou-lhe Uma"
"Capelinha do Coração"
"Cuíca, Pandeiro, Tamborim ..."
"Beijo Bamba"
"Balancê"
"Entra no cordão"
"Como Eu Chorei"
"As Cantoras do Rádio" (recorded with Aurora Miranda and Odeon Orchestra 18 March 1936)
"No Tabuleiro da Baiana" (recorded with Louis Barbosa 29 September 1936)
"Como Vai Você?" (recorded with Ary Barroso 2 October 1936)
1937
"Dance Rumba"
"Em Tudo, Menos em Ti"
"Canjiquinha Quente"
"Cabaret No Morro"
"Baiana Do Tabuleiro"
"Dona Geisha"
"Cachorro Vira-Lata" (recorded 4 May 1937)
"Me Dá, Me Dá" (recorded 4 May 1937)
"Camisa Amarela" (recorded with the Odeon Group 20 September 1937)
"Eu Dei" (recorded 21 September 1937)
1938
"Endereço Errado"
"Falar!"
"Escrevi um Bilhetinho"
"Batalhão do amor"
"E a Festa, Maria?"
"Cuidado Com a Gaita do Ary"
"A Pensão Da Dona Stella"
"A Vizinha Das Vantagens"
"Samba Rasgado" (recorded with Odeon Group 7 March 1938)
"E o Mundo Não Se Acabou" ("And the World Would Not End") (recorded 9 March 1938)
"Boneca de Piche" (recorded with Odeon Orchestra 31 August 1938)
"Na Baixa do Sapateiro" (recorded with Orchestra Odeon 17 October 1938)
1939
"A Preta Do Acarajé"
"Deixa Comigo"
"Candeeiro"
"Amor Ideal"
"Essa Cabrocha"
"A Nossa Vida Hoje É Diferente"
"Cozinheira Grã-fina"
"O Que É Que a Bahiana Tem?" (recorded with Dorival Caymmi 27 February 1939)
"Uva de Caminhão" (recorded 21 March 1939)
"Camisa Listada" (recorded with Bando da Lua 28 August 1939)
1940
"Voltei pro Morro" (recorded 2 September 1940)
"Ela Diz Que Tem"
"Disso É Que Eu Gosto"
"Disseram que Voltei Americanizada" (recorded with Odeon Set 2 September 1940)
"Bruxinha de Pano"
"O Dengo Que a Nêga Tem"
"É Um Quê Que a Gente Tem"
"Blaque-Blaque"
"Recenseamento" (recorded 27 September 1940)
"Ginga-Ginga"
American singles
1939
"South American Way" (recorded with Bando da Lua 26 December 1939)
"Touradas Em Madrid"
"Marchinha do grande galo"
"Mamãe Eu Quero"
"Bambú, Bambú"
1941
"I, Yi, Yi, Yi, Yi (I Like You Very Much)" (recorded with Bando da Lua 5 January 1941)
"Alô Alô"
"Chica Chica Boom Chic" (recorded with Bando da Lua 5 January 1941)
"Bambalê"
"Cai, Cai" (recorded with Bando da Lua 5 January 1941)
"Arca de Noé"
"A Weekend in Havana"
"Diz Que Tem ..."
"When I Love I Love"
"Rebola, Bola" (recorded with Bando da Lua 9 October 1941)
"The Man With the Lollipop Song"
"Não Te Dou A Chupeta"
"Manuelo"
"Thank You, North America"
1942
"Chattanooga Choo Choo" (recorded with Bando da Lua 25 July 1942)
"Tic-tac do Meu Coração"
"O Passo Do Kanguru (Brazilly Willy)"
"Boncea de Pixe"
1945
"Upa! Upa!"
"Tico Tico"
1947
"The Matador (Touradas Em Madrid)" (recorded with the Andrews Sisters and Vic Schoen and his orchestra)
"Cuanto La Gusta" (recorded with the Andrews Sisters and Vic Schoen and his orchestra)
1949
"Asi Asi (I See, I See)" (recorded with the Andrews Sisters and Vic Schoen and his orchestra)
"The Wedding Samba" (recorded with the Andrews Sisters and Vic Schoen and his orchestra)
1950
"Baião Ca Room' Pa Pa" (recorded with the Andrews Sisters and Vic Schoen and his orchestra)
"Ipse-A-I-O" (recorded with The Andrews Sisters and Vic Schoen and his orchestra)
See also
Carioca
References
Further reading
Cardoso, Abel. Carmen Miranda, a Cantora d Brasil. Sorocaba. 1978. (Portuguese)
Gil-Montero, Martha. Brazilian Bombshell. Dutton Adult. 1988. 978–1556111280.
External links
Museu Carmen Miranda In the city of Rio de Janeiro.
Carmen Miranda at Brightlightsfilm.com
International Jose Guillermo Carrillo Foundation
At about the 24-minute mark, doing a fast dance with Durante, she falls to her knees, he helps her up, and she says she is all out of breath.
Carmen Miranda recordings at the Discography of American Historical Recordings.
1909 births
1955 deaths
Portuguese emigrants to Brazil
Musicians from Rio de Janeiro (city)
Brazilian film actresses
Brazilian contraltos
Brazilian female dancers
Brazilian stage actresses
Brazilian television actresses
Brazilian Roman Catholics
Samba musicians
World music musicians
Brazilian expatriates in the United States
RCA Records artists
20th Century Fox contract players
20th-century American actresses
20th-century Brazilian women singers
Women in Latin music
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"You Can Hold Me Down is the debut album by William Tell, first released on March 13, 2007 through Universal Records and New Door Records.\n\nTrack listing\n \"Jeannie\" (William Tell) 3:01\n \"Slipping Under (Sing Along to Your Favorite Song)\" (PJ Smith, William Tell) 3:34\n \"Trouble\" (William Tell) 2:55\n \"Fairfax (You’re Still the Same)\" (William Tell) 2:49\n \"Like You, Only Sweeter\" (Darren Tehrani, William Tell) 3:41\n \"Maybe Tonight\" (William Tell, Mike Green) 3:13\n \"Young at Heart\" (William Tell) 2:46\n \"Sounds\" (William Tell, PJ Smith) 3:05\n \"Just For You\" (William Tell, Mike Green) 3:33\n \"You Can Hold Me Down\" (William Tell, Darren Tehrani) 3:23\n\nBest Buy hidden track:\n<li> \"You Can Hold Me Down\" (Tell, Tehrani) – 9:31\n features the hidden track \"After All\", beginning at about 4:30\n\niTunes Store bonus track:\n<li> \"Yesterday is Calling\" (James Bourne, Smith) – 3:43\n\nTarget bonus track:\n<li> \"Young at Heart (Acoustic)\" (Tell) – 2:46\n\nWal-Mart bonus tracks:\n<li> \"This Mess\" – 3:23\n<li> \"Katie (Where'd You Go?)\" – 3:48\n\nPersonnel\nWilliam Tell - vocals, guitars, bass\nBrian Ireland - drums, percussion\nAndrew McMahon - piano\n\nReferences\n\nYou Can Hold Me Down (William Tell album)"
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In The House Across the Bay (1940, produced by Walter Wanger and released by United Artists), Joan Bennett performed the Mirandaesque "Chula Chihuahua." Babes on Broadway's (1941) finale opens with "Bombshell from Brazil", where Mickey Rooney (dressed as Miranda) sings "Mamae Eu Quero". The finale of Time Out for Rhythm (1941) begins with the Three Stooges performing a rumba number; Curly Howard is dressed as Carmen Miranda. The United Fruit Company created a banana-woman character in 1944, Chiquita, whose fruit hat resembled Miranda's. In Mildred Pierce, Jo Ann Marlowe sings a Mirandaesque South American Way. In "Be a Pal", a season-one episode of I Love Lucy, Lucille Ball imitates Miranda and lip-syncs to "Mamae Eu Quero". Caetano Veloso appeared dressed as Miranda in January 1972, in his first show after his return to Brazil from London. Helena Solberg filmed a documentary, Carmen Miranda: Bananas is My Business, in 1995. Eduardo Dusek recorded a cover version of the song "Ta-Hi (Pra Voce Gostar de Mim)", written by Joubert de Carvalho and recorded by Miranda in 1930, for the 2003 telenovela Chocolate com Pimenta. In 2007, BBC Four produced Carmen Miranda - Beneath the Tutti Frutti Hat, a one-hour documentary which included interviews with biographer Ruy Castro, niece Carminha and Mickey Rooney. That year, singer Ivete Sangalo recorded a cover version of the song "Chica Chica Boom Chic" for the DVD MTV ao Vivo. For Miranda's centenary, Daniela Mercury recorded a "duet" with the singer on a cover of "O Que E Que A Baiana Tem?", which includes the original 1939 recording. The romantic fantasy film The Shape of Water (2017) features Miranda's hit song "Chica Chica Boom Chic". CANNOTANSWER
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Carmen Miranda, (; born Maria do Carmo Miranda da Cunha, 9 February 1909 – 5 August 1955) was a Portuguese-born Brazilian samba singer, dancer, Broadway actress and film star who was active from the late 1920s onwards. Nicknamed "The Brazilian Bombshell", Miranda was known for her signature fruit hat outfit that she wore in her American films. As a young woman, she designed hats in a boutique before making her first recordings with composer Josué de Barros in 1929. Miranda's 1930 recording of "Taí (Pra Você Gostar de Mim)", written by Joubert de Carvalho, catapulted her to stardom in Brazil as the foremost interpreter of samba.
During the 1930s, Miranda performed on Brazilian radio and appeared in five Brazilian chanchadas, films celebrating Brazilian music, dance and the country's carnival culture. Hello, Hello Brazil! and Hello, Hello, Carnival! embodied the spirit of these early Miranda films. The 1939 musical Banana da Terra (directed by Ruy Costa) gave the world her "Baiana" image, inspired by Afro-Brazilians from the north-eastern state of Bahia.
In 1939, Broadway producer Lee Shubert offered Miranda an eight-week contract to perform in The Streets of Paris after seeing her at Cassino da Urca in Rio de Janeiro. The following year she made her first Hollywood film, Down Argentine Way with Don Ameche and Betty Grable and her exotic clothing and Lusophone accent became her trademark. That year, she was voted the third-most-popular personality in the United States; she and her group, Bando da Lua, were invited to sing and dance for President Franklin D. Roosevelt. In 1943, Miranda starred in Busby Berkeley's The Gang's All Here, which featured musical numbers with the fruit hats that became her trademark. By 1945, she was the highest-paid woman in the United States.
Miranda made fourteen Hollywood films between 1940 and 1953. Although she was hailed as a talented performer, her popularity waned by the end of World War II. Miranda came to resent the stereotypical "Brazilian Bombshell" image she had cultivated and attempted to free herself of it with limited success. She focused on nightclub appearances and became a fixture on television variety shows. Despite being stereotyped, Miranda's performances popularized Brazilian music and increased public awareness of Latin culture. In 1941, she was the first Latin American star to be invited to leave her hand and footprints in the courtyard of Grauman's Chinese Theatre and was the first South American honored with a star on the Hollywood Walk of Fame. Miranda is considered the precursor of Brazil's 1960s Tropicalismo cultural movement. A museum was built in Rio de Janeiro in her honor and she was the subject of the documentary Carmen Miranda: Bananas is My Business (1995).
Early life
Miranda was born Maria do Carmo Miranda da Cunha in , a village in the northern Portuguese municipality of Marco de Canaveses. She was the second daughter of José Maria Pinto da Cunha (17 February 1887 – 21 June 1938) and Maria Emília Miranda (10 March 1886, Rio de Janeiro – 9 November 1971). In 1909, when Miranda was ten months old, her father emigrated to Brazil and settled in Rio de Janeiro, where he opened a barber shop. Her mother followed in 1910 with their daughters, Olinda (1907–1931) and Carmen. Although Carmen never returned to Portugal, she retained her Portuguese nationality. In Brazil, her parents had four more children: Amaro (born 1911), Cecília (1913–2011), Aurora (1915–2005) and Óscar (born 1916).
She was christened Carmen by her father because of his love for Bizet's Carmen. This passion for opera influenced his children, and Miranda's love for singing and dancing, at an early age. She was educated at the Convent of Saint Therese of Lisieux. Her father did not approve of Miranda's plans to enter show business; her mother supported her, despite being beaten when her father discovered that his daughter had auditioned for a radio show (she had sung at parties and festivals in Rio). Miranda's older sister, Olinda, developed tuberculosis and was sent to Portugal for treatment; the singer worked in a tie shop at age 14 to help pay her sister's medical bills. She then worked in a boutique (where she learned to make hats), and opened a successful hat business.
Career
In Brazil
Miranda was introduced to Josué de Barros, a composer and musician from Bahia, while she was working at her family's inn. With help from de Barros and Brunswick Records, she recorded her first single (the samba "Não vá Simbora") in 1929. Miranda's second single, "Prá Você Gostar de Mim" (also known as "Taí", and released in 1930), was a collaboration with Brazilian composer Joubert de Carvalho and sold a record 35,000 copies that year. She signed a two-year contract with RCA Victor in 1930, giving them exclusive rights to her image.
In 1933 Miranda signed a two-year contract with Rádio Mayrink Veiga, the most popular Brazilian station of the 1930s, and was the first contract singer in Brazilian radio history; for a year, in 1937, she moved to Rádio Tupi. She later signed a contract with Odeon Records, making her the highest-paid radio singer in Brazil at the time.
Miranda's rise to stardom in Brazil was linked to the growth of a native style of music: the samba. The samba and Miranda's emerging career enhanced the revival of Brazilian nationalism during the government of President Getúlio Vargas. Her gracefulness and vitality in her recordings and live performances gave her the nickname "Cantora do It". The singer was later known as "Ditadora Risonha do Samba", and in 1933 radio announcer Cesar Ladeira christened her "A Pequena Notável".
Her Brazilian film career was linked to a genre of musical films that drew on the nation's carnival traditions and the annual celebration and musical style of Rio de Janeiro, Brazil's capital at the time. Miranda performed a musical number in O Carnaval Cantado no Rio (1932, the first sound documentary on the subject) and three songs in A Voz do Carnaval (1933), which combined footage of street celebrations in Rio with a fictitious plot providing a pretext for musical numbers.
Miranda's next screen performance was in the musical Hello, Hello Brazil! (1935), in which she performed its closing number: the marcha "Primavera no Rio", which she had recorded for Victor in August 1934. Several months after the film's release, according to Cinearte magazine, "Carmen Miranda is currently the most popular figure in Brazilian cinema, judging by the sizeable correspondence that she receives". In her next film, Estudantes (1935), she had a speaking part for the first time. Miranda played Mimi, a young radio singer (who performs two numbers in the film) falls in love with a university student (played by singer Mário Reis).
She starred in the next co-production from the Waldow and Cinédia studios, the musical Hello, Hello, Carnival! (1936), which contained a roll call of popular-music and radio performers (including Miranda's sister, Aurora). A standard backstage plot permitted 23 musical numbers and, by contemporary Brazilian standards, the film was a major production. Its set reproduced the interior of Rio's plush Atlântico casino (where some scenes were filmed) and was a backdrop for some of its musical numbers. Miranda's stardom is evident in a film poster with a full-length photograph of her and her name topping the cast list.
Although she became synonymous with colorful fruit hats during her later career, she began wearing them only in 1939. Miranda appeared in the film Banana da Terra that year in a glamorous version of the traditional dress of a poor black girl in Bahia: a flowing dress and a fruit-hat turban. She sang "O que é que a baiana tem?"; which intended to empower a social class that was usually disparaged.
Producer Lee Shubert offered Miranda an eight-week contract to perform in The Streets of Paris on Broadway after seeing her perform in 1939 at Rio's Cassino da Urca. Although she was interested in performing in New York, she refused to accept the deal unless Shubert agreed to also hire her band, the Bando da Lua. He refused, saying that there were many capable musicians in New York who could back her. Miranda remained steadfast, feeling that North American musicians would not be able to authenticate the sounds of Brazil. Shubert compromised, agreeing to hire the six band members but not paying for their transport to New York. President Getúlio Vargas, recognizing the value to Brazil of Miranda's tour, announced that the Brazilian government would pay for the band's transportation on the Moore-McCormack Lines between Rio and New York. Vargas believed that Miranda would foster ties between the northern and southern hemispheres and act as a goodwill ambassador in the United States, increasing Brazil's share of the American coffee market. Miranda took the official sanction of her trip and her duty to represent Brazil to the outside world seriously. She left for New York on the SS Uruguay on 4 May 1939, a few months before World War II.
In the US
Miranda arrived in New York on 18 May 1939. She and the band had their first Broadway performance on 19 June 1939 in The Streets of Paris. Although Miranda's part was small (she only spoke four words), she received good reviews and became a media sensation. According to New York Times theater critic Brooks Atkinson, most of the musical numbers "ap[e] the tawdry dullness" of genuine Paris revues and "the chorus girls, skin-deep in atmosphere, strike what Broadway thinks a Paris pose ought to be". Atkinson added, however, that "South American contributes the [revue's] most magnetic personality" (Miranda). Singing "rapid-rhythmed songs to the accompaniment of a Brazilian band, she radiates heat that will tax the Broadhurst [theater] air-conditioning plant this Summer". Although Atkinson gave the revue a lukewarm review, he wrote that Miranda made the show.
Syndicated columnist Walter Winchell wrote for the Daily Mirror that a star had been born who would save Broadway from the slump in ticket sales caused by the 1939 New York World's Fair. Winchell's praise of Carmen and her Bando da Lua was repeated on his Blue Network radio show, which reached 55 million listeners daily. The press called Miranda "the girl who saved Broadway from the World's Fair". Her fame grew quickly, and she was formally presented to President Franklin D. Roosevelt at a White House banquet shortly after her arrival. According to a Life magazine reviewer:
Partly because their unusual melody and heavy accented rhythms are unlike anything ever heard in a Manhattan revue before, partly because there is not a clue to their meaning except the gay rolling of Carmen Miranda's insinuating eyes, these songs, and Miranda herself, are the outstanding hit of the show.
When news of Broadway's latest star (known as the Brazilian Bombshell) reached Hollywood, Twentieth Century-Fox began to develop a film featuring Miranda. Its working title was The South American Way (the title of a song she had performed in New York), and the film was later entitled Down Argentine Way (1940). Although its production and cast were based in Los Angeles, Miranda's scenes were filmed in New York because of her club obligations. Fox could combine the footage from both cities because the singer had no dialogue with the other cast members. Down Argentine Way was successful, grossing $2 million that year at the US box office.
The Shuberts brought Miranda back to Broadway, teaming her with Olsen and Johnson, Ella Logan, and the Blackburn Twins in the musical revue Sons o' Fun on 1 December 1941. The show was a hodgepodge of slapstick, songs, and skits; according to New York Herald Tribune theater critic Richard Watts, Jr., "In her eccentric and highly personalized fashion, Miss Miranda is by way of being an artist and her numbers give the show its one touch of distinction." On 1 June 1942, she left the production when her Shubert contract expired; meanwhile, she recorded for Decca Records.
Miranda was encouraged by the US government as part of Roosevelt's Good Neighbor policy, designed to strengthen ties with Latin America. It was believed that performers like her would give the policy a favorable impression with the American public. Miranda's contract with 20th Century Fox lasted from 1941 to 1946, coinciding with the creation and activities of the Office of the Coordinator of Inter-American Affairs. The goal of the OCIAA was to obtain support from Latin American society and its governments for the United States.
The Good Neighbor policy had been linked to US interference in Latin America; Roosevelt sought better diplomatic relations with Brazil and other South American nations, and pledged to refrain from military intervention (which had occurred to protect US business interests in industries such as mining or agriculture). Hollywood was asked to help, and Walt Disney Studios and 20th Century Fox participated. Miranda was considered a goodwill ambassador and a promoter of intercontinental culture.
Brazilian criticism
Although Miranda's US popularity continued to increase, she began to lose favor with some Brazilians. On 10 July 1940, she returned to Brazil and was welcomed by cheering fans. Soon after her arrival, however, the Brazilian press began criticizing Miranda for accommodating American commercialism and projecting a negative image of Brazil. Members of the upper class felt that her image was "too black", and she was criticized in a Brazilian newspaper for "singing bad-taste black sambas". Other Brazilians criticized Miranda for playing a stereotypical "Latina bimbo": in her first interview after her arrival in the US in the New York World-Telegram interview, she played up her then-limited knowledge of the English language: "I say money, money, money. I say twenty words in English. I say money, money, money and I say hot dog!"
On 15 July, Miranda appeared in a charity concert organized by Brazilian First Lady Darci Vargas and attended by members of Brazil's high society. She greeted the audience in English, and was met with silence. When Miranda began singing "The South American Way", a song from one of her club acts, the audience began to boo her. Although she tried to finish her act, she gave up and left the stage when the audience refused to let up. The incident deeply hurt Miranda, who wept in her dressing room. The following day, the Brazilian press criticized her as "too Americanized".
Weeks later, Miranda responded to the criticism with the Portuguese song "Disseram que Voltei Americanizada" ("They Say I've Come Back Americanized"). Another song, "Bananas Is My Business", was based on a line from one of her films and directly addressed her image. Upset by the criticism, Miranda did not return to Brazil for 14 years.
Her films were scrutinized by Latin American audiences for characterizing Central and South America in a culturally-homogeneous way. When Miranda's films reached Central and South American theaters, they were perceived as depicting Latin American cultures through the lens of American preconceptions. Some Latin Americans felt that their cultures were misrepresented, and felt that someone from their own region was misrepresenting them. Down Argentine Way was criticized, with Argentines saying that it failed to depict Argentine culture. Its lyrics were allegedly replete with non-Argentine themes, and its sets were a fusion of Mexican, Cuban, and Brazilian culture. The film was later banned in Argentina for "wrongfully portraying life in Buenos Aires". Similar sentiments were voiced in Cuba after the debut of Miranda's Weekend in Havana (1941), with Cuban audiences offended by Miranda's portrayal of a Cuban woman. Reviewers noted that an import from Rio could not accurately portray a woman from Havana, and Miranda did not "dance anything Cuban". Her performances were arguably hybrids of Brazilian and other Latin cultures. Critics said that Miranda's other films misrepresented Latin locales, assuming that Brazilian culture was a representation of Latin America.
Peak years
During the war years, Miranda starred in eight of her 14 films; although the studios called her the Brazilian Bombshell, the films blurred her Brazilian identity in favor of a Latin American image. According to a Variety review of director Irving Cummings' That Night in Rio (1941, Miranda's second Hollywood film), her character upstaged the leads: "[Don] Ameche is very capable in a dual role, and Miss [Alice] Faye is eye-appealing but it’s the tempestuous Miranda who really gets away to a flying start from the first sequence". The New York Times article said, "Whenever one or the other Ameche character gets out of the way and lets [Miranda] have the screen, the film sizzles and scorches wickedly." Years later, Clive Hirschhorn wrote: "That Night in Rio was the quintessential Fox war-time musical – an over-blown, over-dressed, over-produced and thoroughly irresistible cornucopia of escapist ingredients." On 24 March 1941, Miranda was one of the first Latinas to imprint her hand- and footprints on the sidewalk of Grauman's Chinese Theatre.
Her next film, Week-End in Havana, was directed by Walter Lang and produced by William LeBaron. The cast included Alice Faye, John Payne, and Cesar Romero. After the studio's third effort to activate the "Latin hot blood", Fox was called "Hollywood's best good neighbor" by Bosley Crowther. During the week it was released, the film topped the box office (surpassing Citizen Kane, released a week earlier).
In 1942, 20th Century-Fox paid $60,000 to Lee Shubert to terminate his contract with Miranda, who finished her Sons o' Fun tour and began filming Springtime in the Rockies. The film, which grossed about $2 million, was one of the year's ten most-successful films at the box office. According to a Chicago Tribune review, it was "senseless, but eye intriguing ... The basic plot is splashed over with songs and dances and the mouthings and eye and hand work of Carmen Miranda, who sure would be up a tree if she ever had to sing in the dark".
In 1943, she appeared in Busby Berkeley's The Gang's All Here. Berkeley's musicals were known for lavish production, and Miranda's role as Dorita featured "The Lady in the Tutti-Frutti Hat". A special effect made her fruit-bedecked hat appear larger than possible. By then she was typecast as an exotic songstress, and under her studio contract she was obligated to make public appearances in her ever-more-outlandish film costumes. One of her records, "I Make My Money With Bananas" seemed to pay ironic tribute to her typecasting. The Gang's All Here was one of 1943's 10 highest-grossing films and Fox's most expensive production of the year. It received positive reviews, although The New York Times film critic wrote: "Mr. Berkeley has some sly notions under his busby. One or two of his dance spectacles seem to stem straight from Freud."
The following year Miranda made a cameo appearance in Four Jills in a Jeep, a film based on a true adventure of actresses Kay Francis, Carole Landis, Martha Raye, and Mitzi Mayfair; Alice Faye and Betty Grable also made brief appearances. In 1944 Miranda also starred with Don Ameche in Greenwich Village, a Fox musical with William Bendix and Vivian Blaine in supporting roles. The film was poorly received; according to The New York Times, "Technicolor is the picture's chief asset, but still worth a look for the presence of Carmen Miranda". In her Miami News review, Peggy Simmonds wrote: "Fortunately for Greenwich Village, the picture is made in Technicolor and has Carmen Miranda. Unfortunately for Carmen Miranda, the production doesn't do her justice, the overall effect is disappointing, but still she sparkles the picture whenever she appears." Greenwich Village was less successful at the box office than Fox and Miranda had expected.
Miranda's third 1944 film was Something for the Boys, a musical comedy based on the Broadway musical with songs by Cole Porter and starring Ethel Merman. It was Miranda's first film without William LeBaron or Darryl F. Zanuck as producer. The producer was Irving Starr, who oversaw the studio's second-string films. According to Time magazine, the film "turns out to have nothing very notable for anyone".
By 1945, Miranda was Hollywood's highest-paid entertainer and the top female taxpayer in the United States, earning more than $200,000 that year ($2.88 million in 2020, adjusted for inflation).
Decline
After World War II, Miranda's films at Fox were produced in black-and-white, indicative of Hollywood's diminishing interest in her and Latin Americans in general. A monochrome Carmen Miranda reduced the box-office appeal of the backstage musical, Doll Face (1945), in which she was fourth on the bill. Miranda played Chita Chula, billed in the show-within-the-film as "the little lady from Brazil"—a cheerful comic sidekick to leading lady Doll Face (Vivian Blaine) with one musical number and little dialogue. A New York Herald Tribune review read, "Carmen Miranda does what she always does, only not well"; according to The Sydney Morning Herald, "Carmen Miranda appears in a straight part with only one singing number. The innovation is not a success, but the fault is the director's not Carmen's."
In If I'm Lucky (1946), her follow-up film for Fox when she was no longer under contract, Miranda was again fourth on the bill with her stock screen persona firmly in evidence: heavily accented English, comic malapropisms, and bizarre hairstyles recreating her famous turbans. When Miranda's contract with Fox expired on 1 January 1946, she decided to pursue an acting career free of studio constraints. Miranda's ambition was to play a lead role showcasing her comic skills, which she set out to do in Copacabana (1947, an independent production released by United Artists starring Groucho Marx). Although her films were modest hits, critics and the American public did not accept her new image.
Although Miranda's film career was faltering, her musical career remained solid and she was still a popular nightclub attraction. From 1948 to 1950, she joined the Andrews Sisters in producing and recording three Decca singles. Their first collaboration was on radio in 1945, when Miranda appeared on ABC's The Andrews Sisters Show. Their first single, "Cuanto La Gusta", was the most popular and reached number twelve on the Billboard chart. "The Wedding Samba", which reached number 23, followed in 1950.
After Copacabana, Joe Pasternak invited Miranda to make two Technicolor musicals for Metro-Goldwyn-Mayer: A Date with Judy (1948) and Nancy Goes to Rio (1950). In the first production MGM wanted to portray a different image, allowing her to remove her turban and reveal her own hair (styled by Sydney Guilaroff) and makeup (by Jack Dawn). Miranda's wardrobe for the film substituted elegant dresses and hats designed by Helen Rose for "baiana" outfits. She was again fourth on the bill as Rosita Cochellas, a rumba teacher who first appears about 40 minutes into the film and has little dialogue. Despite MGM's efforts to change Miranda's persona, her roles in both productions were peripheral, watered-down caricatures relying on fractured English and over-the-top musical and dance numbers.
In her final film, Scared Stiff (1953, a black-and-white Paramount production with Dean Martin and Jerry Lewis), Miranda's appeal was again muted. Returning full-circle to her first Hollywood film, Down Argentine Way, she had virtually no narrative function. Lewis parodies her, miming badly to "Mamãe Eu Quero" (which is playing on a scratched record) and eating a banana he plucks from his turban. Miranda played Carmelita Castilha, a Brazilian showgirl on a cruise ship, with her costumes and performances bordering on self-parody.
In April 1953, she began a four-month European tour. While performing in Cincinnati in October, Miranda collapsed from exhaustion; she was rushed to LeRoy Sanitarium by her husband, Dave Sebastian, and canceled four following performances.
Personal life
Desiring creative freedom, Miranda decided to produce her own film in 1947 and played opposite Groucho Marx in Copacabana. The film's budget was divided into about ten investors' shares. A Texan investor who owned one of the shares sent his brother, David Sebastian (23 November 1907 – 11 September 1990), to keep an eye on Miranda and his interests on the set. Sebastian befriended her, and they began dating.
Miranda and Sebastian married on 17 March 1947 at the Church of the Good Shepherd in Beverly Hills, with Patrick J. Concannon officiating. In 1948, Miranda became pregnant, but miscarried after a show. Although the marriage was brief, Miranda (who was Catholic) did not want a divorce. Her sister, Aurora, said in the documentary Bananas is My Business: "He married her for selfish reasons; she got very sick after she married and lived with a lot of depression". The couple announced their separation in September 1949, but reconciled several months later.
Miranda was discreet, and little is known about her private life. Before she left for the US, she had relationships with Mario Cunha, Carlos da Rocha Faria (son of a traditional family in Rio de Janeiro) and Aloísio de Oliveira, a member of the Bando da Lua. In the US, Miranda maintained relationships with John Payne, Arturo de Córdova, Dana Andrews, Harold Young, John Wayne, Donald Buka and Carlos Niemeyer. During her later years, in addition to heavy smoking and alcohol consumption, she began taking amphetamines and barbiturates, all of which took a toll on her health.
Death
Miranda performed at the New Frontier Hotel in Las Vegas in April 1955, and in Cuba three months later before returning to Los Angeles to recuperate from a recurrent bronchial ailment. On 4 August, she was filming a segment for the NBC variety series The Jimmy Durante Show. According to Durante, Miranda had complained of feeling unwell before filming; he offered to find her a replacement, but she declined. After completing "Jackson, Miranda, and Gomez", a song-and-dance number with Durante, she fell to one knee. Durante later said, "I thought she had slipped. She got up and said she was outa breath. I told her I'll take her lines. But she goes ahead with 'em. We finished work about 11 o'clock and she seemed happy."
After the last take, Miranda and Durante gave an impromptu performance on the set for the cast and technicians. The singer took several cast members and some friends home with her for a small party. She went upstairs to bed at about 3 a.m. Miranda undressed, placed her platform shoes in a corner, lit a cigarette, placed it in an ashtray and went into her bathroom to remove her makeup. She apparently came from the bathroom with a small, round mirror in her hand; in the small hall that led to her bedroom, she collapsed from a fatal heart attack. Miranda was 46 years old. Her body was found at about 10:30 a.m. lying in the hallway. The Jimmy Durante Show episode in which Miranda appeared was aired two months after her death, on 15 October 1955,. The episode began with Durante paying tribute to the singer, while also indicating that her family had given permission for the performance to be broadcast. A clip of the episode was included in the A&E Network's Biography episode about the singer.
In accordance with her wishes, Miranda's body was flown back to Rio de Janeiro; the Brazilian government declared a period of national mourning.
About 60,000 people attended her memorial service at the Rio town hall, and more than half a million Brazilians escorted her funeral cortège to the cemetery.
Miranda is buried in São João Batista Cemetery in Rio de Janeiro. In 1956 her belongings were donated by her husband and family to the Carmen Miranda Museum, which opened in Rio on 5 August 1976. For her contributions to the entertainment industry, Miranda has a star on the Hollywood Walk of Fame at the south side of the 6262 block of Hollywood Boulevard.
Image
Miranda's Hollywood image was that of a generic Latina, blurring distinctions between Brazil, Portugal, Argentina, and Mexico and samba, tango and habanera music. It was stylized and flamboyant; she often wore platform sandals and towering headdresses made of fruit, becoming known as "the lady in the tutti-frutti hat". Her enormous, fruit-laden hats were iconic visuals recognized worldwide; Saks Fifth Avenue developed a line of Miranda-inspired turbans and jewelry in 1939, and Bonwit Teller created mannequins resembling the singer.
Her tutti-frutti hat from The Gang's All Here (1943) inspired the United Fruit Company's Chiquita Banana logo the following year. During the 1960s, tropicália filmmakers in Brazil were influenced by Miranda's Hollywood films.
In 2009 she was the subject of São Paulo Fashion Week and a short film, Tutti Frutti, by German photographer Ellen von Unwerth. Two years later, Macy's wanted to use Miranda to promote a clothing line. Other products influenced by her stardom are the Brazilian fashion brand Malwee's "Chica Boom Chic" collection for women, and the Chica Boom Brasil company's high-end Carmen Miranda line, which includes Miranda-themed bags, wall clocks, crockery and placemats.
Legacy
According to Brazilian musician Caetano Veloso, "Miranda was first a cause of both pride and shame, and later, a symbol that inspired the merciless gaze we began to cast upon ourselves ... Carmen conquered 'White' America as no other South American has done or ever would, in an era when it was enough to be 'recognizably Latin and Negroid' in style and aesthetics to attract attention." Miranda was the first Brazilian artist to gain worldwide fame in the 1950s, and she continued to define South American music in North America for decades. In 1991, Veloso wrote that "today, anything associated with Brazilian music in America – or with any music from the Southern Hemisphere in the Northern – makes us think of Carmen Miranda. And to think of her is to think about the complexity of this relationship"
Although she was more popular abroad than in Brazil at her death, Miranda contributed to Brazilian music and culture. She was accused of commercializing Brazilian music and dance, but Miranda can be credited with bringing its national music (the samba) to a global audience. She introduced the baiana, with wide skirts and turbans, as a Brazilian showgirl at home and abroad. The baiana became a central feature of Carnival for women and men.
Since her death, Miranda is remembered as an important Brazilian artist and one of the most influential in Hollywood. She was one of 500 stars nominated for the American Film Institute's 50 greatest screen legends.
On 25 September 1998, a square in Hollywood was named Carmen Miranda Square in a ceremony headed by honorary mayor of Hollywood Johnny Grant (one of Miranda's friends since World War II) and attended by Brazilian consul general Jorió Gama and the Bando da Lua. The square is located at the intersection of Hollywood Boulevard and Orange Drive, across from Grauman's Chinese Theatre, near where Miranda gave an impromptu performance on V-J Day.
To commemorate the 50th anniversary of Miranda's death, a Carmen Miranda Forever exhibit was displayed at the Museum of Modern Art in Rio de Janeiro in November 2005 and at the Latin America Memorial in São Paulo the following year. In 2005, Ruy Castro published a 600-page biography of "the most famous Brazilian woman of the 20th century." Brazilians "tend to forget," Castro told Mac Margolis of Newsweek, that "no Brazilian woman has ever been as popular as Carmen Miranda – in Brazil or anywhere."
Dorival Caymmi's "O que é que a baiana tem?" was his first work to be recorded, and introduced to the US the samba rhythm and Miranda in 1939; it was a Latin category inductee of the 2008 National Recording registry list.
Miranda, Selena, Celia Cruz, Carlos Gardel and Tito Puente appeared on a set of commemorative US Postal Service Latin Music Legends stamps, painted by Rafael Lopez, in 2011. Marie Therese Dominguez, vice president of government relations and public policy for the postal service, said: "From this day forward, these colorful, vibrant images of our Latin music legends will travel on letters and packages to every single household in America. In this small way, we have created a lasting tribute to five extraordinary performers, and we are proud and honored to share their legacy with Americans everywhere through these beautiful stamps".
Down Argentine Way and The Gang's All Here were inductees of the 2014 National Film Registry list. The 2016 Summer Olympics closing ceremony included a tribute to Miranda before the athletes' parade, with Roberta Sá portraying the singer. On 9 February 2017, Miranda was the subject of a Google Doodle created by Google artist Sophie Diao commemorating the 108th anniversary of her birth.
In popular culture
In The House Across the Bay (1940, produced by Walter Wanger and released by United Artists), Joan Bennett performed the Mirandaesque "Chula Chihuahua." Babes on Broadway (1941) finale opens with "Bombshell from Brazil", where Mickey Rooney (dressed as Miranda) sings "Mamãe Eu Quero". The finale of Time Out for Rhythm (1941) begins with the Three Stooges performing a rumba number; Curly Howard is dressed as Carmen Miranda. In 1943's Yankee Doodle Daffy, Daffy Duck performs "Chica Chica Boom Chic" while dressed as Carmen Miranda. The United Fruit Company created a banana-woman character in 1944, Chiquita, whose fruit hat resembled Miranda's. In Small Town Deb (1942), Jane Withers does an impression of Carmen Miranda and sings "I, Yi, Yi, Yi, Yi (I Like You Very Much)," which was one of Miranda's signature songs. In the British comedy, Fiddlers Three, Tommy Trinder gives a bizarre performance as "Senorita Alvarez" from Brazil, a bold impersonation of Miranda.
The song "Mamãe Eu Quero" was featured in the 1943 Tom & Jerry short "Baby Puss", as performed by a trio of cartoon cats (Butch, Topsy and Meathead) with Topsy dressed up with a fruit hat, impersonating Carmen Miranda.
In Winged Victory (1944) Sascha Brastoff impersonates Carmen Miranda. In Mildred Pierce, Jo Ann Marlowe sings a Mirandaesque South American Way. In "Be a Pal", a season-one episode of I Love Lucy, Lucille Ball imitates Miranda and lip-syncs to "Mamãe Eu Quero".
In Diplomatic Courier (1952), during a nightclub sequence, Arthur Blake performs impersonations of Carmen Miranda, Franklin Delano Roosevelt and Bette Davis. Caetano Veloso appeared dressed as Miranda in January 1972, in his first show after his return to Brazil from London.
Jimmy Buffett's 1973 album A White Sport Coat and a Pink Crustacean contains the song "They Don't Dance Like Carmen No More".
In 1976, musician Leslie Fish wrote and recorded a song called "Carmen Miranda's Ghost," on her album Folk Songs for Folk Who Ain't Even Been Yet. The song describes the chaos that ensues when the singer's ghost appears on a space station. It was later the basis for a multi-author short story anthology edited by Don Sakers. John Cale's 1989 Words for the Dying features a song co-written with Brian Eno titled "The Soul of Carmen Miranda."
Helena Solberg filmed a documentary, Carmen Miranda: Bananas is My Business, in 1995. Eduardo Dusek recorded a cover version of the song "Tá-Hi (Pra Você Gostar de Mim)", written by Joubert de Carvalho and recorded by Miranda in 1930, for the 2003 telenovela Chocolate com Pimenta. In 2004, Caetano Veloso and David Byrne performed live at Carnegie Hall a song they had written together, "Dreamworld: Marco de Canaveses", that pays homage to Miranda. In 2007, BBC Four produced Carmen Miranda – Beneath the Tutti Frutti Hat, a one-hour documentary which included interviews with biographer Ruy Castro, niece Carminha and Mickey Rooney. That year, singer Ivete Sangalo recorded a cover version of the song "Chica Chica Boom Chic" for the DVD MTV ao Vivo. For Miranda's centenary, Daniela Mercury recorded a "duet" with the singer on a cover of "O Que É Que A Baiana Tem?", which includes the original 1939 recording.
At the Closing Ceremony of the 2016 Rio Summer Olympics, a few seconds' homage to Miranda was paid with an animated, projected image on the floor of the Maracana Stadium.
The film The Shape of Water (2017) features Miranda's song "Chica Chica Boom Chic".
Bonita Flamingo, a character in the children's show Noddy, is a flamingo spoof of Miranda.
In 2009, Miranda served as the inspiration for a photo shoot on the 12th season of the reality TV show, America's Next Top Model.
Filmography
Singles
Brazilian singles
1935
"Anoiteceu"
"Entre Outras Coisas"
"Esqueci de Sorrir"
"Foi Numa Noite Assim"
"Fogueira Do Meu Coração"
"Fruto Proibido"
"Cor de Guiné"
"Casaco de Tricô"
"Dia de Natal"
"Fala, Meu Pandeiro"
"Deixa Esse Povo Falar"
"Sonho de Papel" (recorded with Orchestra Odeon 10 May 1935)
"E Bateu-Se a Chapa" (recorded 26 June 1935)
"O Tique-Taque do Meu Coração" (recorded 7 August 1935)
"Adeus, Batucada" (recorded with Odeon Orchestra 24 September 1935)
"Querido Adão" (recorded with Odeon Orchestra 26 September 1935)
1936
"Alô, Alô, Carnaval"
"Duvi-dê-ó-dó"
"Dou-lhe Uma"
"Capelinha do Coração"
"Cuíca, Pandeiro, Tamborim ..."
"Beijo Bamba"
"Balancê"
"Entra no cordão"
"Como Eu Chorei"
"As Cantoras do Rádio" (recorded with Aurora Miranda and Odeon Orchestra 18 March 1936)
"No Tabuleiro da Baiana" (recorded with Louis Barbosa 29 September 1936)
"Como Vai Você?" (recorded with Ary Barroso 2 October 1936)
1937
"Dance Rumba"
"Em Tudo, Menos em Ti"
"Canjiquinha Quente"
"Cabaret No Morro"
"Baiana Do Tabuleiro"
"Dona Geisha"
"Cachorro Vira-Lata" (recorded 4 May 1937)
"Me Dá, Me Dá" (recorded 4 May 1937)
"Camisa Amarela" (recorded with the Odeon Group 20 September 1937)
"Eu Dei" (recorded 21 September 1937)
1938
"Endereço Errado"
"Falar!"
"Escrevi um Bilhetinho"
"Batalhão do amor"
"E a Festa, Maria?"
"Cuidado Com a Gaita do Ary"
"A Pensão Da Dona Stella"
"A Vizinha Das Vantagens"
"Samba Rasgado" (recorded with Odeon Group 7 March 1938)
"E o Mundo Não Se Acabou" ("And the World Would Not End") (recorded 9 March 1938)
"Boneca de Piche" (recorded with Odeon Orchestra 31 August 1938)
"Na Baixa do Sapateiro" (recorded with Orchestra Odeon 17 October 1938)
1939
"A Preta Do Acarajé"
"Deixa Comigo"
"Candeeiro"
"Amor Ideal"
"Essa Cabrocha"
"A Nossa Vida Hoje É Diferente"
"Cozinheira Grã-fina"
"O Que É Que a Bahiana Tem?" (recorded with Dorival Caymmi 27 February 1939)
"Uva de Caminhão" (recorded 21 March 1939)
"Camisa Listada" (recorded with Bando da Lua 28 August 1939)
1940
"Voltei pro Morro" (recorded 2 September 1940)
"Ela Diz Que Tem"
"Disso É Que Eu Gosto"
"Disseram que Voltei Americanizada" (recorded with Odeon Set 2 September 1940)
"Bruxinha de Pano"
"O Dengo Que a Nêga Tem"
"É Um Quê Que a Gente Tem"
"Blaque-Blaque"
"Recenseamento" (recorded 27 September 1940)
"Ginga-Ginga"
American singles
1939
"South American Way" (recorded with Bando da Lua 26 December 1939)
"Touradas Em Madrid"
"Marchinha do grande galo"
"Mamãe Eu Quero"
"Bambú, Bambú"
1941
"I, Yi, Yi, Yi, Yi (I Like You Very Much)" (recorded with Bando da Lua 5 January 1941)
"Alô Alô"
"Chica Chica Boom Chic" (recorded with Bando da Lua 5 January 1941)
"Bambalê"
"Cai, Cai" (recorded with Bando da Lua 5 January 1941)
"Arca de Noé"
"A Weekend in Havana"
"Diz Que Tem ..."
"When I Love I Love"
"Rebola, Bola" (recorded with Bando da Lua 9 October 1941)
"The Man With the Lollipop Song"
"Não Te Dou A Chupeta"
"Manuelo"
"Thank You, North America"
1942
"Chattanooga Choo Choo" (recorded with Bando da Lua 25 July 1942)
"Tic-tac do Meu Coração"
"O Passo Do Kanguru (Brazilly Willy)"
"Boncea de Pixe"
1945
"Upa! Upa!"
"Tico Tico"
1947
"The Matador (Touradas Em Madrid)" (recorded with the Andrews Sisters and Vic Schoen and his orchestra)
"Cuanto La Gusta" (recorded with the Andrews Sisters and Vic Schoen and his orchestra)
1949
"Asi Asi (I See, I See)" (recorded with the Andrews Sisters and Vic Schoen and his orchestra)
"The Wedding Samba" (recorded with the Andrews Sisters and Vic Schoen and his orchestra)
1950
"Baião Ca Room' Pa Pa" (recorded with the Andrews Sisters and Vic Schoen and his orchestra)
"Ipse-A-I-O" (recorded with The Andrews Sisters and Vic Schoen and his orchestra)
See also
Carioca
References
Further reading
Cardoso, Abel. Carmen Miranda, a Cantora d Brasil. Sorocaba. 1978. (Portuguese)
Gil-Montero, Martha. Brazilian Bombshell. Dutton Adult. 1988. 978–1556111280.
External links
Museu Carmen Miranda In the city of Rio de Janeiro.
Carmen Miranda at Brightlightsfilm.com
International Jose Guillermo Carrillo Foundation
At about the 24-minute mark, doing a fast dance with Durante, she falls to her knees, he helps her up, and she says she is all out of breath.
Carmen Miranda recordings at the Discography of American Historical Recordings.
1909 births
1955 deaths
Portuguese emigrants to Brazil
Musicians from Rio de Janeiro (city)
Brazilian film actresses
Brazilian contraltos
Brazilian female dancers
Brazilian stage actresses
Brazilian television actresses
Brazilian Roman Catholics
Samba musicians
World music musicians
Brazilian expatriates in the United States
RCA Records artists
20th Century Fox contract players
20th-century American actresses
20th-century Brazilian women singers
Women in Latin music
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"The Star Awards for Best Info-Ed Programme is an award presented annually at the Star Awards, a ceremony that was established in 1994.\n\nThe category was introduced in 2006, at the 13th Star Awards ceremony; Y Do You Care received the award and it is given in honour of a Mediacorp info-ed programme which has delivered an outstanding overall performance. The nominees are determined by a team of judges employed by Mediacorp; winners are selected by a majority vote from the entire judging panel.\n\nSince its inception, the award has been given to 11 info-ed programmes. Little Masteros is the most recent winner in this category. Since the ceremony held in 2017, Tuesday Report remains as the only info-ed programme to win in this category five times, surpassing Find Me A Singaporean which has two wins. In addition, Tuesday Report has been nominated on 19 occasions, more than any other info-ed programme. Behind Every Job, Food Hometown and Of Rites And Rituals hold the record for the most nominations without a win, with two.\n\nRecipients\n\n Each year is linked to the article about the Star Awards held that year.\n\n Prior to 2006, Tuesday Report was titled TR Report.\n\nCategory facts\nMost wins\n\nMost nominations\n\nSee also \nStar Awards\nStar Awards for Best Info-Ed Programme Host\n\nReferences\n\nExternal links \n\nStar Awards",
"The 9th annual Genie Awards were held March 22, 1988, and honoured Canadian films released in 1987. The ceremony was held at the Metro Toronto Convention Centre and was co-hosted by Megan Follows and Gordon Pinsent.\n\nThe awards were dominated by Night Zoo (Un zoo la nuit), which won a still unmatched thirteen awards. The film garnered 14 nominations overall; the film's only nomination that failed to translate into a win was Gilles Maheu's nod for Best Actor, as he lost to the film's other Best Actor nominee, Roger Lebel. The female acting awards were won by Sheila McCarthy and Paule Baillargeon for the film I've Heard the Mermaids Singing, the only other narrative feature film to win any Genie awards that year; only the Documentary and Short Film awards, in which neither Night Zoo nor I've Heard the Mermaids Singing were even eligible for consideration, were won by any other film.\n\nWinners and nominees\n\nReferences\n\n09\nGenie\nGenie\nGenie"
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"Carmen Miranda",
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"Helena Solberg filmed a documentary, Carmen Miranda: Bananas is My Business,",
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How did the documentary, Carmen Miranda: Bananas is My Business do?
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Carmen Miranda
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In The House Across the Bay (1940, produced by Walter Wanger and released by United Artists), Joan Bennett performed the Mirandaesque "Chula Chihuahua." Babes on Broadway's (1941) finale opens with "Bombshell from Brazil", where Mickey Rooney (dressed as Miranda) sings "Mamae Eu Quero". The finale of Time Out for Rhythm (1941) begins with the Three Stooges performing a rumba number; Curly Howard is dressed as Carmen Miranda. The United Fruit Company created a banana-woman character in 1944, Chiquita, whose fruit hat resembled Miranda's. In Mildred Pierce, Jo Ann Marlowe sings a Mirandaesque South American Way. In "Be a Pal", a season-one episode of I Love Lucy, Lucille Ball imitates Miranda and lip-syncs to "Mamae Eu Quero". Caetano Veloso appeared dressed as Miranda in January 1972, in his first show after his return to Brazil from London. Helena Solberg filmed a documentary, Carmen Miranda: Bananas is My Business, in 1995. Eduardo Dusek recorded a cover version of the song "Ta-Hi (Pra Voce Gostar de Mim)", written by Joubert de Carvalho and recorded by Miranda in 1930, for the 2003 telenovela Chocolate com Pimenta. In 2007, BBC Four produced Carmen Miranda - Beneath the Tutti Frutti Hat, a one-hour documentary which included interviews with biographer Ruy Castro, niece Carminha and Mickey Rooney. That year, singer Ivete Sangalo recorded a cover version of the song "Chica Chica Boom Chic" for the DVD MTV ao Vivo. For Miranda's centenary, Daniela Mercury recorded a "duet" with the singer on a cover of "O Que E Que A Baiana Tem?", which includes the original 1939 recording. The romantic fantasy film The Shape of Water (2017) features Miranda's hit song "Chica Chica Boom Chic". CANNOTANSWER
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Carmen Miranda, (; born Maria do Carmo Miranda da Cunha, 9 February 1909 – 5 August 1955) was a Portuguese-born Brazilian samba singer, dancer, Broadway actress and film star who was active from the late 1920s onwards. Nicknamed "The Brazilian Bombshell", Miranda was known for her signature fruit hat outfit that she wore in her American films. As a young woman, she designed hats in a boutique before making her first recordings with composer Josué de Barros in 1929. Miranda's 1930 recording of "Taí (Pra Você Gostar de Mim)", written by Joubert de Carvalho, catapulted her to stardom in Brazil as the foremost interpreter of samba.
During the 1930s, Miranda performed on Brazilian radio and appeared in five Brazilian chanchadas, films celebrating Brazilian music, dance and the country's carnival culture. Hello, Hello Brazil! and Hello, Hello, Carnival! embodied the spirit of these early Miranda films. The 1939 musical Banana da Terra (directed by Ruy Costa) gave the world her "Baiana" image, inspired by Afro-Brazilians from the north-eastern state of Bahia.
In 1939, Broadway producer Lee Shubert offered Miranda an eight-week contract to perform in The Streets of Paris after seeing her at Cassino da Urca in Rio de Janeiro. The following year she made her first Hollywood film, Down Argentine Way with Don Ameche and Betty Grable and her exotic clothing and Lusophone accent became her trademark. That year, she was voted the third-most-popular personality in the United States; she and her group, Bando da Lua, were invited to sing and dance for President Franklin D. Roosevelt. In 1943, Miranda starred in Busby Berkeley's The Gang's All Here, which featured musical numbers with the fruit hats that became her trademark. By 1945, she was the highest-paid woman in the United States.
Miranda made fourteen Hollywood films between 1940 and 1953. Although she was hailed as a talented performer, her popularity waned by the end of World War II. Miranda came to resent the stereotypical "Brazilian Bombshell" image she had cultivated and attempted to free herself of it with limited success. She focused on nightclub appearances and became a fixture on television variety shows. Despite being stereotyped, Miranda's performances popularized Brazilian music and increased public awareness of Latin culture. In 1941, she was the first Latin American star to be invited to leave her hand and footprints in the courtyard of Grauman's Chinese Theatre and was the first South American honored with a star on the Hollywood Walk of Fame. Miranda is considered the precursor of Brazil's 1960s Tropicalismo cultural movement. A museum was built in Rio de Janeiro in her honor and she was the subject of the documentary Carmen Miranda: Bananas is My Business (1995).
Early life
Miranda was born Maria do Carmo Miranda da Cunha in , a village in the northern Portuguese municipality of Marco de Canaveses. She was the second daughter of José Maria Pinto da Cunha (17 February 1887 – 21 June 1938) and Maria Emília Miranda (10 March 1886, Rio de Janeiro – 9 November 1971). In 1909, when Miranda was ten months old, her father emigrated to Brazil and settled in Rio de Janeiro, where he opened a barber shop. Her mother followed in 1910 with their daughters, Olinda (1907–1931) and Carmen. Although Carmen never returned to Portugal, she retained her Portuguese nationality. In Brazil, her parents had four more children: Amaro (born 1911), Cecília (1913–2011), Aurora (1915–2005) and Óscar (born 1916).
She was christened Carmen by her father because of his love for Bizet's Carmen. This passion for opera influenced his children, and Miranda's love for singing and dancing, at an early age. She was educated at the Convent of Saint Therese of Lisieux. Her father did not approve of Miranda's plans to enter show business; her mother supported her, despite being beaten when her father discovered that his daughter had auditioned for a radio show (she had sung at parties and festivals in Rio). Miranda's older sister, Olinda, developed tuberculosis and was sent to Portugal for treatment; the singer worked in a tie shop at age 14 to help pay her sister's medical bills. She then worked in a boutique (where she learned to make hats), and opened a successful hat business.
Career
In Brazil
Miranda was introduced to Josué de Barros, a composer and musician from Bahia, while she was working at her family's inn. With help from de Barros and Brunswick Records, she recorded her first single (the samba "Não vá Simbora") in 1929. Miranda's second single, "Prá Você Gostar de Mim" (also known as "Taí", and released in 1930), was a collaboration with Brazilian composer Joubert de Carvalho and sold a record 35,000 copies that year. She signed a two-year contract with RCA Victor in 1930, giving them exclusive rights to her image.
In 1933 Miranda signed a two-year contract with Rádio Mayrink Veiga, the most popular Brazilian station of the 1930s, and was the first contract singer in Brazilian radio history; for a year, in 1937, she moved to Rádio Tupi. She later signed a contract with Odeon Records, making her the highest-paid radio singer in Brazil at the time.
Miranda's rise to stardom in Brazil was linked to the growth of a native style of music: the samba. The samba and Miranda's emerging career enhanced the revival of Brazilian nationalism during the government of President Getúlio Vargas. Her gracefulness and vitality in her recordings and live performances gave her the nickname "Cantora do It". The singer was later known as "Ditadora Risonha do Samba", and in 1933 radio announcer Cesar Ladeira christened her "A Pequena Notável".
Her Brazilian film career was linked to a genre of musical films that drew on the nation's carnival traditions and the annual celebration and musical style of Rio de Janeiro, Brazil's capital at the time. Miranda performed a musical number in O Carnaval Cantado no Rio (1932, the first sound documentary on the subject) and three songs in A Voz do Carnaval (1933), which combined footage of street celebrations in Rio with a fictitious plot providing a pretext for musical numbers.
Miranda's next screen performance was in the musical Hello, Hello Brazil! (1935), in which she performed its closing number: the marcha "Primavera no Rio", which she had recorded for Victor in August 1934. Several months after the film's release, according to Cinearte magazine, "Carmen Miranda is currently the most popular figure in Brazilian cinema, judging by the sizeable correspondence that she receives". In her next film, Estudantes (1935), she had a speaking part for the first time. Miranda played Mimi, a young radio singer (who performs two numbers in the film) falls in love with a university student (played by singer Mário Reis).
She starred in the next co-production from the Waldow and Cinédia studios, the musical Hello, Hello, Carnival! (1936), which contained a roll call of popular-music and radio performers (including Miranda's sister, Aurora). A standard backstage plot permitted 23 musical numbers and, by contemporary Brazilian standards, the film was a major production. Its set reproduced the interior of Rio's plush Atlântico casino (where some scenes were filmed) and was a backdrop for some of its musical numbers. Miranda's stardom is evident in a film poster with a full-length photograph of her and her name topping the cast list.
Although she became synonymous with colorful fruit hats during her later career, she began wearing them only in 1939. Miranda appeared in the film Banana da Terra that year in a glamorous version of the traditional dress of a poor black girl in Bahia: a flowing dress and a fruit-hat turban. She sang "O que é que a baiana tem?"; which intended to empower a social class that was usually disparaged.
Producer Lee Shubert offered Miranda an eight-week contract to perform in The Streets of Paris on Broadway after seeing her perform in 1939 at Rio's Cassino da Urca. Although she was interested in performing in New York, she refused to accept the deal unless Shubert agreed to also hire her band, the Bando da Lua. He refused, saying that there were many capable musicians in New York who could back her. Miranda remained steadfast, feeling that North American musicians would not be able to authenticate the sounds of Brazil. Shubert compromised, agreeing to hire the six band members but not paying for their transport to New York. President Getúlio Vargas, recognizing the value to Brazil of Miranda's tour, announced that the Brazilian government would pay for the band's transportation on the Moore-McCormack Lines between Rio and New York. Vargas believed that Miranda would foster ties between the northern and southern hemispheres and act as a goodwill ambassador in the United States, increasing Brazil's share of the American coffee market. Miranda took the official sanction of her trip and her duty to represent Brazil to the outside world seriously. She left for New York on the SS Uruguay on 4 May 1939, a few months before World War II.
In the US
Miranda arrived in New York on 18 May 1939. She and the band had their first Broadway performance on 19 June 1939 in The Streets of Paris. Although Miranda's part was small (she only spoke four words), she received good reviews and became a media sensation. According to New York Times theater critic Brooks Atkinson, most of the musical numbers "ap[e] the tawdry dullness" of genuine Paris revues and "the chorus girls, skin-deep in atmosphere, strike what Broadway thinks a Paris pose ought to be". Atkinson added, however, that "South American contributes the [revue's] most magnetic personality" (Miranda). Singing "rapid-rhythmed songs to the accompaniment of a Brazilian band, she radiates heat that will tax the Broadhurst [theater] air-conditioning plant this Summer". Although Atkinson gave the revue a lukewarm review, he wrote that Miranda made the show.
Syndicated columnist Walter Winchell wrote for the Daily Mirror that a star had been born who would save Broadway from the slump in ticket sales caused by the 1939 New York World's Fair. Winchell's praise of Carmen and her Bando da Lua was repeated on his Blue Network radio show, which reached 55 million listeners daily. The press called Miranda "the girl who saved Broadway from the World's Fair". Her fame grew quickly, and she was formally presented to President Franklin D. Roosevelt at a White House banquet shortly after her arrival. According to a Life magazine reviewer:
Partly because their unusual melody and heavy accented rhythms are unlike anything ever heard in a Manhattan revue before, partly because there is not a clue to their meaning except the gay rolling of Carmen Miranda's insinuating eyes, these songs, and Miranda herself, are the outstanding hit of the show.
When news of Broadway's latest star (known as the Brazilian Bombshell) reached Hollywood, Twentieth Century-Fox began to develop a film featuring Miranda. Its working title was The South American Way (the title of a song she had performed in New York), and the film was later entitled Down Argentine Way (1940). Although its production and cast were based in Los Angeles, Miranda's scenes were filmed in New York because of her club obligations. Fox could combine the footage from both cities because the singer had no dialogue with the other cast members. Down Argentine Way was successful, grossing $2 million that year at the US box office.
The Shuberts brought Miranda back to Broadway, teaming her with Olsen and Johnson, Ella Logan, and the Blackburn Twins in the musical revue Sons o' Fun on 1 December 1941. The show was a hodgepodge of slapstick, songs, and skits; according to New York Herald Tribune theater critic Richard Watts, Jr., "In her eccentric and highly personalized fashion, Miss Miranda is by way of being an artist and her numbers give the show its one touch of distinction." On 1 June 1942, she left the production when her Shubert contract expired; meanwhile, she recorded for Decca Records.
Miranda was encouraged by the US government as part of Roosevelt's Good Neighbor policy, designed to strengthen ties with Latin America. It was believed that performers like her would give the policy a favorable impression with the American public. Miranda's contract with 20th Century Fox lasted from 1941 to 1946, coinciding with the creation and activities of the Office of the Coordinator of Inter-American Affairs. The goal of the OCIAA was to obtain support from Latin American society and its governments for the United States.
The Good Neighbor policy had been linked to US interference in Latin America; Roosevelt sought better diplomatic relations with Brazil and other South American nations, and pledged to refrain from military intervention (which had occurred to protect US business interests in industries such as mining or agriculture). Hollywood was asked to help, and Walt Disney Studios and 20th Century Fox participated. Miranda was considered a goodwill ambassador and a promoter of intercontinental culture.
Brazilian criticism
Although Miranda's US popularity continued to increase, she began to lose favor with some Brazilians. On 10 July 1940, she returned to Brazil and was welcomed by cheering fans. Soon after her arrival, however, the Brazilian press began criticizing Miranda for accommodating American commercialism and projecting a negative image of Brazil. Members of the upper class felt that her image was "too black", and she was criticized in a Brazilian newspaper for "singing bad-taste black sambas". Other Brazilians criticized Miranda for playing a stereotypical "Latina bimbo": in her first interview after her arrival in the US in the New York World-Telegram interview, she played up her then-limited knowledge of the English language: "I say money, money, money. I say twenty words in English. I say money, money, money and I say hot dog!"
On 15 July, Miranda appeared in a charity concert organized by Brazilian First Lady Darci Vargas and attended by members of Brazil's high society. She greeted the audience in English, and was met with silence. When Miranda began singing "The South American Way", a song from one of her club acts, the audience began to boo her. Although she tried to finish her act, she gave up and left the stage when the audience refused to let up. The incident deeply hurt Miranda, who wept in her dressing room. The following day, the Brazilian press criticized her as "too Americanized".
Weeks later, Miranda responded to the criticism with the Portuguese song "Disseram que Voltei Americanizada" ("They Say I've Come Back Americanized"). Another song, "Bananas Is My Business", was based on a line from one of her films and directly addressed her image. Upset by the criticism, Miranda did not return to Brazil for 14 years.
Her films were scrutinized by Latin American audiences for characterizing Central and South America in a culturally-homogeneous way. When Miranda's films reached Central and South American theaters, they were perceived as depicting Latin American cultures through the lens of American preconceptions. Some Latin Americans felt that their cultures were misrepresented, and felt that someone from their own region was misrepresenting them. Down Argentine Way was criticized, with Argentines saying that it failed to depict Argentine culture. Its lyrics were allegedly replete with non-Argentine themes, and its sets were a fusion of Mexican, Cuban, and Brazilian culture. The film was later banned in Argentina for "wrongfully portraying life in Buenos Aires". Similar sentiments were voiced in Cuba after the debut of Miranda's Weekend in Havana (1941), with Cuban audiences offended by Miranda's portrayal of a Cuban woman. Reviewers noted that an import from Rio could not accurately portray a woman from Havana, and Miranda did not "dance anything Cuban". Her performances were arguably hybrids of Brazilian and other Latin cultures. Critics said that Miranda's other films misrepresented Latin locales, assuming that Brazilian culture was a representation of Latin America.
Peak years
During the war years, Miranda starred in eight of her 14 films; although the studios called her the Brazilian Bombshell, the films blurred her Brazilian identity in favor of a Latin American image. According to a Variety review of director Irving Cummings' That Night in Rio (1941, Miranda's second Hollywood film), her character upstaged the leads: "[Don] Ameche is very capable in a dual role, and Miss [Alice] Faye is eye-appealing but it’s the tempestuous Miranda who really gets away to a flying start from the first sequence". The New York Times article said, "Whenever one or the other Ameche character gets out of the way and lets [Miranda] have the screen, the film sizzles and scorches wickedly." Years later, Clive Hirschhorn wrote: "That Night in Rio was the quintessential Fox war-time musical – an over-blown, over-dressed, over-produced and thoroughly irresistible cornucopia of escapist ingredients." On 24 March 1941, Miranda was one of the first Latinas to imprint her hand- and footprints on the sidewalk of Grauman's Chinese Theatre.
Her next film, Week-End in Havana, was directed by Walter Lang and produced by William LeBaron. The cast included Alice Faye, John Payne, and Cesar Romero. After the studio's third effort to activate the "Latin hot blood", Fox was called "Hollywood's best good neighbor" by Bosley Crowther. During the week it was released, the film topped the box office (surpassing Citizen Kane, released a week earlier).
In 1942, 20th Century-Fox paid $60,000 to Lee Shubert to terminate his contract with Miranda, who finished her Sons o' Fun tour and began filming Springtime in the Rockies. The film, which grossed about $2 million, was one of the year's ten most-successful films at the box office. According to a Chicago Tribune review, it was "senseless, but eye intriguing ... The basic plot is splashed over with songs and dances and the mouthings and eye and hand work of Carmen Miranda, who sure would be up a tree if she ever had to sing in the dark".
In 1943, she appeared in Busby Berkeley's The Gang's All Here. Berkeley's musicals were known for lavish production, and Miranda's role as Dorita featured "The Lady in the Tutti-Frutti Hat". A special effect made her fruit-bedecked hat appear larger than possible. By then she was typecast as an exotic songstress, and under her studio contract she was obligated to make public appearances in her ever-more-outlandish film costumes. One of her records, "I Make My Money With Bananas" seemed to pay ironic tribute to her typecasting. The Gang's All Here was one of 1943's 10 highest-grossing films and Fox's most expensive production of the year. It received positive reviews, although The New York Times film critic wrote: "Mr. Berkeley has some sly notions under his busby. One or two of his dance spectacles seem to stem straight from Freud."
The following year Miranda made a cameo appearance in Four Jills in a Jeep, a film based on a true adventure of actresses Kay Francis, Carole Landis, Martha Raye, and Mitzi Mayfair; Alice Faye and Betty Grable also made brief appearances. In 1944 Miranda also starred with Don Ameche in Greenwich Village, a Fox musical with William Bendix and Vivian Blaine in supporting roles. The film was poorly received; according to The New York Times, "Technicolor is the picture's chief asset, but still worth a look for the presence of Carmen Miranda". In her Miami News review, Peggy Simmonds wrote: "Fortunately for Greenwich Village, the picture is made in Technicolor and has Carmen Miranda. Unfortunately for Carmen Miranda, the production doesn't do her justice, the overall effect is disappointing, but still she sparkles the picture whenever she appears." Greenwich Village was less successful at the box office than Fox and Miranda had expected.
Miranda's third 1944 film was Something for the Boys, a musical comedy based on the Broadway musical with songs by Cole Porter and starring Ethel Merman. It was Miranda's first film without William LeBaron or Darryl F. Zanuck as producer. The producer was Irving Starr, who oversaw the studio's second-string films. According to Time magazine, the film "turns out to have nothing very notable for anyone".
By 1945, Miranda was Hollywood's highest-paid entertainer and the top female taxpayer in the United States, earning more than $200,000 that year ($2.88 million in 2020, adjusted for inflation).
Decline
After World War II, Miranda's films at Fox were produced in black-and-white, indicative of Hollywood's diminishing interest in her and Latin Americans in general. A monochrome Carmen Miranda reduced the box-office appeal of the backstage musical, Doll Face (1945), in which she was fourth on the bill. Miranda played Chita Chula, billed in the show-within-the-film as "the little lady from Brazil"—a cheerful comic sidekick to leading lady Doll Face (Vivian Blaine) with one musical number and little dialogue. A New York Herald Tribune review read, "Carmen Miranda does what she always does, only not well"; according to The Sydney Morning Herald, "Carmen Miranda appears in a straight part with only one singing number. The innovation is not a success, but the fault is the director's not Carmen's."
In If I'm Lucky (1946), her follow-up film for Fox when she was no longer under contract, Miranda was again fourth on the bill with her stock screen persona firmly in evidence: heavily accented English, comic malapropisms, and bizarre hairstyles recreating her famous turbans. When Miranda's contract with Fox expired on 1 January 1946, she decided to pursue an acting career free of studio constraints. Miranda's ambition was to play a lead role showcasing her comic skills, which she set out to do in Copacabana (1947, an independent production released by United Artists starring Groucho Marx). Although her films were modest hits, critics and the American public did not accept her new image.
Although Miranda's film career was faltering, her musical career remained solid and she was still a popular nightclub attraction. From 1948 to 1950, she joined the Andrews Sisters in producing and recording three Decca singles. Their first collaboration was on radio in 1945, when Miranda appeared on ABC's The Andrews Sisters Show. Their first single, "Cuanto La Gusta", was the most popular and reached number twelve on the Billboard chart. "The Wedding Samba", which reached number 23, followed in 1950.
After Copacabana, Joe Pasternak invited Miranda to make two Technicolor musicals for Metro-Goldwyn-Mayer: A Date with Judy (1948) and Nancy Goes to Rio (1950). In the first production MGM wanted to portray a different image, allowing her to remove her turban and reveal her own hair (styled by Sydney Guilaroff) and makeup (by Jack Dawn). Miranda's wardrobe for the film substituted elegant dresses and hats designed by Helen Rose for "baiana" outfits. She was again fourth on the bill as Rosita Cochellas, a rumba teacher who first appears about 40 minutes into the film and has little dialogue. Despite MGM's efforts to change Miranda's persona, her roles in both productions were peripheral, watered-down caricatures relying on fractured English and over-the-top musical and dance numbers.
In her final film, Scared Stiff (1953, a black-and-white Paramount production with Dean Martin and Jerry Lewis), Miranda's appeal was again muted. Returning full-circle to her first Hollywood film, Down Argentine Way, she had virtually no narrative function. Lewis parodies her, miming badly to "Mamãe Eu Quero" (which is playing on a scratched record) and eating a banana he plucks from his turban. Miranda played Carmelita Castilha, a Brazilian showgirl on a cruise ship, with her costumes and performances bordering on self-parody.
In April 1953, she began a four-month European tour. While performing in Cincinnati in October, Miranda collapsed from exhaustion; she was rushed to LeRoy Sanitarium by her husband, Dave Sebastian, and canceled four following performances.
Personal life
Desiring creative freedom, Miranda decided to produce her own film in 1947 and played opposite Groucho Marx in Copacabana. The film's budget was divided into about ten investors' shares. A Texan investor who owned one of the shares sent his brother, David Sebastian (23 November 1907 – 11 September 1990), to keep an eye on Miranda and his interests on the set. Sebastian befriended her, and they began dating.
Miranda and Sebastian married on 17 March 1947 at the Church of the Good Shepherd in Beverly Hills, with Patrick J. Concannon officiating. In 1948, Miranda became pregnant, but miscarried after a show. Although the marriage was brief, Miranda (who was Catholic) did not want a divorce. Her sister, Aurora, said in the documentary Bananas is My Business: "He married her for selfish reasons; she got very sick after she married and lived with a lot of depression". The couple announced their separation in September 1949, but reconciled several months later.
Miranda was discreet, and little is known about her private life. Before she left for the US, she had relationships with Mario Cunha, Carlos da Rocha Faria (son of a traditional family in Rio de Janeiro) and Aloísio de Oliveira, a member of the Bando da Lua. In the US, Miranda maintained relationships with John Payne, Arturo de Córdova, Dana Andrews, Harold Young, John Wayne, Donald Buka and Carlos Niemeyer. During her later years, in addition to heavy smoking and alcohol consumption, she began taking amphetamines and barbiturates, all of which took a toll on her health.
Death
Miranda performed at the New Frontier Hotel in Las Vegas in April 1955, and in Cuba three months later before returning to Los Angeles to recuperate from a recurrent bronchial ailment. On 4 August, she was filming a segment for the NBC variety series The Jimmy Durante Show. According to Durante, Miranda had complained of feeling unwell before filming; he offered to find her a replacement, but she declined. After completing "Jackson, Miranda, and Gomez", a song-and-dance number with Durante, she fell to one knee. Durante later said, "I thought she had slipped. She got up and said she was outa breath. I told her I'll take her lines. But she goes ahead with 'em. We finished work about 11 o'clock and she seemed happy."
After the last take, Miranda and Durante gave an impromptu performance on the set for the cast and technicians. The singer took several cast members and some friends home with her for a small party. She went upstairs to bed at about 3 a.m. Miranda undressed, placed her platform shoes in a corner, lit a cigarette, placed it in an ashtray and went into her bathroom to remove her makeup. She apparently came from the bathroom with a small, round mirror in her hand; in the small hall that led to her bedroom, she collapsed from a fatal heart attack. Miranda was 46 years old. Her body was found at about 10:30 a.m. lying in the hallway. The Jimmy Durante Show episode in which Miranda appeared was aired two months after her death, on 15 October 1955,. The episode began with Durante paying tribute to the singer, while also indicating that her family had given permission for the performance to be broadcast. A clip of the episode was included in the A&E Network's Biography episode about the singer.
In accordance with her wishes, Miranda's body was flown back to Rio de Janeiro; the Brazilian government declared a period of national mourning.
About 60,000 people attended her memorial service at the Rio town hall, and more than half a million Brazilians escorted her funeral cortège to the cemetery.
Miranda is buried in São João Batista Cemetery in Rio de Janeiro. In 1956 her belongings were donated by her husband and family to the Carmen Miranda Museum, which opened in Rio on 5 August 1976. For her contributions to the entertainment industry, Miranda has a star on the Hollywood Walk of Fame at the south side of the 6262 block of Hollywood Boulevard.
Image
Miranda's Hollywood image was that of a generic Latina, blurring distinctions between Brazil, Portugal, Argentina, and Mexico and samba, tango and habanera music. It was stylized and flamboyant; she often wore platform sandals and towering headdresses made of fruit, becoming known as "the lady in the tutti-frutti hat". Her enormous, fruit-laden hats were iconic visuals recognized worldwide; Saks Fifth Avenue developed a line of Miranda-inspired turbans and jewelry in 1939, and Bonwit Teller created mannequins resembling the singer.
Her tutti-frutti hat from The Gang's All Here (1943) inspired the United Fruit Company's Chiquita Banana logo the following year. During the 1960s, tropicália filmmakers in Brazil were influenced by Miranda's Hollywood films.
In 2009 she was the subject of São Paulo Fashion Week and a short film, Tutti Frutti, by German photographer Ellen von Unwerth. Two years later, Macy's wanted to use Miranda to promote a clothing line. Other products influenced by her stardom are the Brazilian fashion brand Malwee's "Chica Boom Chic" collection for women, and the Chica Boom Brasil company's high-end Carmen Miranda line, which includes Miranda-themed bags, wall clocks, crockery and placemats.
Legacy
According to Brazilian musician Caetano Veloso, "Miranda was first a cause of both pride and shame, and later, a symbol that inspired the merciless gaze we began to cast upon ourselves ... Carmen conquered 'White' America as no other South American has done or ever would, in an era when it was enough to be 'recognizably Latin and Negroid' in style and aesthetics to attract attention." Miranda was the first Brazilian artist to gain worldwide fame in the 1950s, and she continued to define South American music in North America for decades. In 1991, Veloso wrote that "today, anything associated with Brazilian music in America – or with any music from the Southern Hemisphere in the Northern – makes us think of Carmen Miranda. And to think of her is to think about the complexity of this relationship"
Although she was more popular abroad than in Brazil at her death, Miranda contributed to Brazilian music and culture. She was accused of commercializing Brazilian music and dance, but Miranda can be credited with bringing its national music (the samba) to a global audience. She introduced the baiana, with wide skirts and turbans, as a Brazilian showgirl at home and abroad. The baiana became a central feature of Carnival for women and men.
Since her death, Miranda is remembered as an important Brazilian artist and one of the most influential in Hollywood. She was one of 500 stars nominated for the American Film Institute's 50 greatest screen legends.
On 25 September 1998, a square in Hollywood was named Carmen Miranda Square in a ceremony headed by honorary mayor of Hollywood Johnny Grant (one of Miranda's friends since World War II) and attended by Brazilian consul general Jorió Gama and the Bando da Lua. The square is located at the intersection of Hollywood Boulevard and Orange Drive, across from Grauman's Chinese Theatre, near where Miranda gave an impromptu performance on V-J Day.
To commemorate the 50th anniversary of Miranda's death, a Carmen Miranda Forever exhibit was displayed at the Museum of Modern Art in Rio de Janeiro in November 2005 and at the Latin America Memorial in São Paulo the following year. In 2005, Ruy Castro published a 600-page biography of "the most famous Brazilian woman of the 20th century." Brazilians "tend to forget," Castro told Mac Margolis of Newsweek, that "no Brazilian woman has ever been as popular as Carmen Miranda – in Brazil or anywhere."
Dorival Caymmi's "O que é que a baiana tem?" was his first work to be recorded, and introduced to the US the samba rhythm and Miranda in 1939; it was a Latin category inductee of the 2008 National Recording registry list.
Miranda, Selena, Celia Cruz, Carlos Gardel and Tito Puente appeared on a set of commemorative US Postal Service Latin Music Legends stamps, painted by Rafael Lopez, in 2011. Marie Therese Dominguez, vice president of government relations and public policy for the postal service, said: "From this day forward, these colorful, vibrant images of our Latin music legends will travel on letters and packages to every single household in America. In this small way, we have created a lasting tribute to five extraordinary performers, and we are proud and honored to share their legacy with Americans everywhere through these beautiful stamps".
Down Argentine Way and The Gang's All Here were inductees of the 2014 National Film Registry list. The 2016 Summer Olympics closing ceremony included a tribute to Miranda before the athletes' parade, with Roberta Sá portraying the singer. On 9 February 2017, Miranda was the subject of a Google Doodle created by Google artist Sophie Diao commemorating the 108th anniversary of her birth.
In popular culture
In The House Across the Bay (1940, produced by Walter Wanger and released by United Artists), Joan Bennett performed the Mirandaesque "Chula Chihuahua." Babes on Broadway (1941) finale opens with "Bombshell from Brazil", where Mickey Rooney (dressed as Miranda) sings "Mamãe Eu Quero". The finale of Time Out for Rhythm (1941) begins with the Three Stooges performing a rumba number; Curly Howard is dressed as Carmen Miranda. In 1943's Yankee Doodle Daffy, Daffy Duck performs "Chica Chica Boom Chic" while dressed as Carmen Miranda. The United Fruit Company created a banana-woman character in 1944, Chiquita, whose fruit hat resembled Miranda's. In Small Town Deb (1942), Jane Withers does an impression of Carmen Miranda and sings "I, Yi, Yi, Yi, Yi (I Like You Very Much)," which was one of Miranda's signature songs. In the British comedy, Fiddlers Three, Tommy Trinder gives a bizarre performance as "Senorita Alvarez" from Brazil, a bold impersonation of Miranda.
The song "Mamãe Eu Quero" was featured in the 1943 Tom & Jerry short "Baby Puss", as performed by a trio of cartoon cats (Butch, Topsy and Meathead) with Topsy dressed up with a fruit hat, impersonating Carmen Miranda.
In Winged Victory (1944) Sascha Brastoff impersonates Carmen Miranda. In Mildred Pierce, Jo Ann Marlowe sings a Mirandaesque South American Way. In "Be a Pal", a season-one episode of I Love Lucy, Lucille Ball imitates Miranda and lip-syncs to "Mamãe Eu Quero".
In Diplomatic Courier (1952), during a nightclub sequence, Arthur Blake performs impersonations of Carmen Miranda, Franklin Delano Roosevelt and Bette Davis. Caetano Veloso appeared dressed as Miranda in January 1972, in his first show after his return to Brazil from London.
Jimmy Buffett's 1973 album A White Sport Coat and a Pink Crustacean contains the song "They Don't Dance Like Carmen No More".
In 1976, musician Leslie Fish wrote and recorded a song called "Carmen Miranda's Ghost," on her album Folk Songs for Folk Who Ain't Even Been Yet. The song describes the chaos that ensues when the singer's ghost appears on a space station. It was later the basis for a multi-author short story anthology edited by Don Sakers. John Cale's 1989 Words for the Dying features a song co-written with Brian Eno titled "The Soul of Carmen Miranda."
Helena Solberg filmed a documentary, Carmen Miranda: Bananas is My Business, in 1995. Eduardo Dusek recorded a cover version of the song "Tá-Hi (Pra Você Gostar de Mim)", written by Joubert de Carvalho and recorded by Miranda in 1930, for the 2003 telenovela Chocolate com Pimenta. In 2004, Caetano Veloso and David Byrne performed live at Carnegie Hall a song they had written together, "Dreamworld: Marco de Canaveses", that pays homage to Miranda. In 2007, BBC Four produced Carmen Miranda – Beneath the Tutti Frutti Hat, a one-hour documentary which included interviews with biographer Ruy Castro, niece Carminha and Mickey Rooney. That year, singer Ivete Sangalo recorded a cover version of the song "Chica Chica Boom Chic" for the DVD MTV ao Vivo. For Miranda's centenary, Daniela Mercury recorded a "duet" with the singer on a cover of "O Que É Que A Baiana Tem?", which includes the original 1939 recording.
At the Closing Ceremony of the 2016 Rio Summer Olympics, a few seconds' homage to Miranda was paid with an animated, projected image on the floor of the Maracana Stadium.
The film The Shape of Water (2017) features Miranda's song "Chica Chica Boom Chic".
Bonita Flamingo, a character in the children's show Noddy, is a flamingo spoof of Miranda.
In 2009, Miranda served as the inspiration for a photo shoot on the 12th season of the reality TV show, America's Next Top Model.
Filmography
Singles
Brazilian singles
1935
"Anoiteceu"
"Entre Outras Coisas"
"Esqueci de Sorrir"
"Foi Numa Noite Assim"
"Fogueira Do Meu Coração"
"Fruto Proibido"
"Cor de Guiné"
"Casaco de Tricô"
"Dia de Natal"
"Fala, Meu Pandeiro"
"Deixa Esse Povo Falar"
"Sonho de Papel" (recorded with Orchestra Odeon 10 May 1935)
"E Bateu-Se a Chapa" (recorded 26 June 1935)
"O Tique-Taque do Meu Coração" (recorded 7 August 1935)
"Adeus, Batucada" (recorded with Odeon Orchestra 24 September 1935)
"Querido Adão" (recorded with Odeon Orchestra 26 September 1935)
1936
"Alô, Alô, Carnaval"
"Duvi-dê-ó-dó"
"Dou-lhe Uma"
"Capelinha do Coração"
"Cuíca, Pandeiro, Tamborim ..."
"Beijo Bamba"
"Balancê"
"Entra no cordão"
"Como Eu Chorei"
"As Cantoras do Rádio" (recorded with Aurora Miranda and Odeon Orchestra 18 March 1936)
"No Tabuleiro da Baiana" (recorded with Louis Barbosa 29 September 1936)
"Como Vai Você?" (recorded with Ary Barroso 2 October 1936)
1937
"Dance Rumba"
"Em Tudo, Menos em Ti"
"Canjiquinha Quente"
"Cabaret No Morro"
"Baiana Do Tabuleiro"
"Dona Geisha"
"Cachorro Vira-Lata" (recorded 4 May 1937)
"Me Dá, Me Dá" (recorded 4 May 1937)
"Camisa Amarela" (recorded with the Odeon Group 20 September 1937)
"Eu Dei" (recorded 21 September 1937)
1938
"Endereço Errado"
"Falar!"
"Escrevi um Bilhetinho"
"Batalhão do amor"
"E a Festa, Maria?"
"Cuidado Com a Gaita do Ary"
"A Pensão Da Dona Stella"
"A Vizinha Das Vantagens"
"Samba Rasgado" (recorded with Odeon Group 7 March 1938)
"E o Mundo Não Se Acabou" ("And the World Would Not End") (recorded 9 March 1938)
"Boneca de Piche" (recorded with Odeon Orchestra 31 August 1938)
"Na Baixa do Sapateiro" (recorded with Orchestra Odeon 17 October 1938)
1939
"A Preta Do Acarajé"
"Deixa Comigo"
"Candeeiro"
"Amor Ideal"
"Essa Cabrocha"
"A Nossa Vida Hoje É Diferente"
"Cozinheira Grã-fina"
"O Que É Que a Bahiana Tem?" (recorded with Dorival Caymmi 27 February 1939)
"Uva de Caminhão" (recorded 21 March 1939)
"Camisa Listada" (recorded with Bando da Lua 28 August 1939)
1940
"Voltei pro Morro" (recorded 2 September 1940)
"Ela Diz Que Tem"
"Disso É Que Eu Gosto"
"Disseram que Voltei Americanizada" (recorded with Odeon Set 2 September 1940)
"Bruxinha de Pano"
"O Dengo Que a Nêga Tem"
"É Um Quê Que a Gente Tem"
"Blaque-Blaque"
"Recenseamento" (recorded 27 September 1940)
"Ginga-Ginga"
American singles
1939
"South American Way" (recorded with Bando da Lua 26 December 1939)
"Touradas Em Madrid"
"Marchinha do grande galo"
"Mamãe Eu Quero"
"Bambú, Bambú"
1941
"I, Yi, Yi, Yi, Yi (I Like You Very Much)" (recorded with Bando da Lua 5 January 1941)
"Alô Alô"
"Chica Chica Boom Chic" (recorded with Bando da Lua 5 January 1941)
"Bambalê"
"Cai, Cai" (recorded with Bando da Lua 5 January 1941)
"Arca de Noé"
"A Weekend in Havana"
"Diz Que Tem ..."
"When I Love I Love"
"Rebola, Bola" (recorded with Bando da Lua 9 October 1941)
"The Man With the Lollipop Song"
"Não Te Dou A Chupeta"
"Manuelo"
"Thank You, North America"
1942
"Chattanooga Choo Choo" (recorded with Bando da Lua 25 July 1942)
"Tic-tac do Meu Coração"
"O Passo Do Kanguru (Brazilly Willy)"
"Boncea de Pixe"
1945
"Upa! Upa!"
"Tico Tico"
1947
"The Matador (Touradas Em Madrid)" (recorded with the Andrews Sisters and Vic Schoen and his orchestra)
"Cuanto La Gusta" (recorded with the Andrews Sisters and Vic Schoen and his orchestra)
1949
"Asi Asi (I See, I See)" (recorded with the Andrews Sisters and Vic Schoen and his orchestra)
"The Wedding Samba" (recorded with the Andrews Sisters and Vic Schoen and his orchestra)
1950
"Baião Ca Room' Pa Pa" (recorded with the Andrews Sisters and Vic Schoen and his orchestra)
"Ipse-A-I-O" (recorded with The Andrews Sisters and Vic Schoen and his orchestra)
See also
Carioca
References
Further reading
Cardoso, Abel. Carmen Miranda, a Cantora d Brasil. Sorocaba. 1978. (Portuguese)
Gil-Montero, Martha. Brazilian Bombshell. Dutton Adult. 1988. 978–1556111280.
External links
Museu Carmen Miranda In the city of Rio de Janeiro.
Carmen Miranda at Brightlightsfilm.com
International Jose Guillermo Carrillo Foundation
At about the 24-minute mark, doing a fast dance with Durante, she falls to her knees, he helps her up, and she says she is all out of breath.
Carmen Miranda recordings at the Discography of American Historical Recordings.
1909 births
1955 deaths
Portuguese emigrants to Brazil
Musicians from Rio de Janeiro (city)
Brazilian film actresses
Brazilian contraltos
Brazilian female dancers
Brazilian stage actresses
Brazilian television actresses
Brazilian Roman Catholics
Samba musicians
World music musicians
Brazilian expatriates in the United States
RCA Records artists
20th Century Fox contract players
20th-century American actresses
20th-century Brazilian women singers
Women in Latin music
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"The Migraine Disability Assessment Test (MIDAS) is a test used by doctors to determine how severely migraines affect a patient's life. Patients are asked questions about the frequency and duration of their headaches, as well as how often these headaches limited their ability to participate in activities at work, at school, or at home.\n\nThe test was evaluated by the professional journal Neurology in 2001; it was found to be both reliable and valid.\n\nQuestions\nThe MIDAS contains the following questions:\n\n On how many days in the last 3 months did you miss work or school because of your headaches?\n How many days in the last 3 months was your productivity at work or school reduced by half or more because of your headaches? (Do not include days you counted in question 1 where you missed work or school.)\n On how many days in the last 3 months did you not do household work because of your headaches?\n How many days in the last three months was your productivity in household work reduced by half of more because of your headaches? (Do not include days you counted in question 3 where you did not do household work.)\n On how many days in the last 3 months did you miss family, social or leisure activities because of your headaches?\n\nThe patient's score consists of the total of these five questions. Additionally, there is a section for patients to share with their doctors:\n\nWhat your Physician will need to know about your headache:\n\nA. On how many days in the last 3 months did you have a headache?\n(If a headache lasted more than 1 day, count each day.)\t\n\nB. On a scale of 0 - 10, on average how painful were these headaches? \n(where 0 = no pain at all and 10 = pain as bad as it can be.)\n\nScoring\nOnce scored, the test gives the patient an idea of how debilitating his/her migraines are based on this scale:\n\n0 to 5, MIDAS Grade I, Little or no disability \n\n6 to 10, MIDAS Grade II, Mild disability\n\n11 to 20, MIDAS Grade III, Moderate disability\n\n21+, MIDAS Grade IV, Severe disability\n\nReferences\n\nExternal links\nMigraine Treatment\n\nMigraine",
"\"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"
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"Carmen Miranda",
"In popular culture",
"What can you tell me interesting about this article",
"Helena Solberg filmed a documentary, Carmen Miranda: Bananas is My Business,",
"do it win any awards",
"I don't know.",
"How did it do",
"I don't know."
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C_8d9b5901ef6e4e808fc6dc65228a903c_0
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Did Miranda play in it
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Did Carmen Miranda play in her self-named documentary?
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Carmen Miranda
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In The House Across the Bay (1940, produced by Walter Wanger and released by United Artists), Joan Bennett performed the Mirandaesque "Chula Chihuahua." Babes on Broadway's (1941) finale opens with "Bombshell from Brazil", where Mickey Rooney (dressed as Miranda) sings "Mamae Eu Quero". The finale of Time Out for Rhythm (1941) begins with the Three Stooges performing a rumba number; Curly Howard is dressed as Carmen Miranda. The United Fruit Company created a banana-woman character in 1944, Chiquita, whose fruit hat resembled Miranda's. In Mildred Pierce, Jo Ann Marlowe sings a Mirandaesque South American Way. In "Be a Pal", a season-one episode of I Love Lucy, Lucille Ball imitates Miranda and lip-syncs to "Mamae Eu Quero". Caetano Veloso appeared dressed as Miranda in January 1972, in his first show after his return to Brazil from London. Helena Solberg filmed a documentary, Carmen Miranda: Bananas is My Business, in 1995. Eduardo Dusek recorded a cover version of the song "Ta-Hi (Pra Voce Gostar de Mim)", written by Joubert de Carvalho and recorded by Miranda in 1930, for the 2003 telenovela Chocolate com Pimenta. In 2007, BBC Four produced Carmen Miranda - Beneath the Tutti Frutti Hat, a one-hour documentary which included interviews with biographer Ruy Castro, niece Carminha and Mickey Rooney. That year, singer Ivete Sangalo recorded a cover version of the song "Chica Chica Boom Chic" for the DVD MTV ao Vivo. For Miranda's centenary, Daniela Mercury recorded a "duet" with the singer on a cover of "O Que E Que A Baiana Tem?", which includes the original 1939 recording. The romantic fantasy film The Shape of Water (2017) features Miranda's hit song "Chica Chica Boom Chic". CANNOTANSWER
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CANNOTANSWER
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Carmen Miranda, (; born Maria do Carmo Miranda da Cunha, 9 February 1909 – 5 August 1955) was a Portuguese-born Brazilian samba singer, dancer, Broadway actress and film star who was active from the late 1920s onwards. Nicknamed "The Brazilian Bombshell", Miranda was known for her signature fruit hat outfit that she wore in her American films. As a young woman, she designed hats in a boutique before making her first recordings with composer Josué de Barros in 1929. Miranda's 1930 recording of "Taí (Pra Você Gostar de Mim)", written by Joubert de Carvalho, catapulted her to stardom in Brazil as the foremost interpreter of samba.
During the 1930s, Miranda performed on Brazilian radio and appeared in five Brazilian chanchadas, films celebrating Brazilian music, dance and the country's carnival culture. Hello, Hello Brazil! and Hello, Hello, Carnival! embodied the spirit of these early Miranda films. The 1939 musical Banana da Terra (directed by Ruy Costa) gave the world her "Baiana" image, inspired by Afro-Brazilians from the north-eastern state of Bahia.
In 1939, Broadway producer Lee Shubert offered Miranda an eight-week contract to perform in The Streets of Paris after seeing her at Cassino da Urca in Rio de Janeiro. The following year she made her first Hollywood film, Down Argentine Way with Don Ameche and Betty Grable and her exotic clothing and Lusophone accent became her trademark. That year, she was voted the third-most-popular personality in the United States; she and her group, Bando da Lua, were invited to sing and dance for President Franklin D. Roosevelt. In 1943, Miranda starred in Busby Berkeley's The Gang's All Here, which featured musical numbers with the fruit hats that became her trademark. By 1945, she was the highest-paid woman in the United States.
Miranda made fourteen Hollywood films between 1940 and 1953. Although she was hailed as a talented performer, her popularity waned by the end of World War II. Miranda came to resent the stereotypical "Brazilian Bombshell" image she had cultivated and attempted to free herself of it with limited success. She focused on nightclub appearances and became a fixture on television variety shows. Despite being stereotyped, Miranda's performances popularized Brazilian music and increased public awareness of Latin culture. In 1941, she was the first Latin American star to be invited to leave her hand and footprints in the courtyard of Grauman's Chinese Theatre and was the first South American honored with a star on the Hollywood Walk of Fame. Miranda is considered the precursor of Brazil's 1960s Tropicalismo cultural movement. A museum was built in Rio de Janeiro in her honor and she was the subject of the documentary Carmen Miranda: Bananas is My Business (1995).
Early life
Miranda was born Maria do Carmo Miranda da Cunha in , a village in the northern Portuguese municipality of Marco de Canaveses. She was the second daughter of José Maria Pinto da Cunha (17 February 1887 – 21 June 1938) and Maria Emília Miranda (10 March 1886, Rio de Janeiro – 9 November 1971). In 1909, when Miranda was ten months old, her father emigrated to Brazil and settled in Rio de Janeiro, where he opened a barber shop. Her mother followed in 1910 with their daughters, Olinda (1907–1931) and Carmen. Although Carmen never returned to Portugal, she retained her Portuguese nationality. In Brazil, her parents had four more children: Amaro (born 1911), Cecília (1913–2011), Aurora (1915–2005) and Óscar (born 1916).
She was christened Carmen by her father because of his love for Bizet's Carmen. This passion for opera influenced his children, and Miranda's love for singing and dancing, at an early age. She was educated at the Convent of Saint Therese of Lisieux. Her father did not approve of Miranda's plans to enter show business; her mother supported her, despite being beaten when her father discovered that his daughter had auditioned for a radio show (she had sung at parties and festivals in Rio). Miranda's older sister, Olinda, developed tuberculosis and was sent to Portugal for treatment; the singer worked in a tie shop at age 14 to help pay her sister's medical bills. She then worked in a boutique (where she learned to make hats), and opened a successful hat business.
Career
In Brazil
Miranda was introduced to Josué de Barros, a composer and musician from Bahia, while she was working at her family's inn. With help from de Barros and Brunswick Records, she recorded her first single (the samba "Não vá Simbora") in 1929. Miranda's second single, "Prá Você Gostar de Mim" (also known as "Taí", and released in 1930), was a collaboration with Brazilian composer Joubert de Carvalho and sold a record 35,000 copies that year. She signed a two-year contract with RCA Victor in 1930, giving them exclusive rights to her image.
In 1933 Miranda signed a two-year contract with Rádio Mayrink Veiga, the most popular Brazilian station of the 1930s, and was the first contract singer in Brazilian radio history; for a year, in 1937, she moved to Rádio Tupi. She later signed a contract with Odeon Records, making her the highest-paid radio singer in Brazil at the time.
Miranda's rise to stardom in Brazil was linked to the growth of a native style of music: the samba. The samba and Miranda's emerging career enhanced the revival of Brazilian nationalism during the government of President Getúlio Vargas. Her gracefulness and vitality in her recordings and live performances gave her the nickname "Cantora do It". The singer was later known as "Ditadora Risonha do Samba", and in 1933 radio announcer Cesar Ladeira christened her "A Pequena Notável".
Her Brazilian film career was linked to a genre of musical films that drew on the nation's carnival traditions and the annual celebration and musical style of Rio de Janeiro, Brazil's capital at the time. Miranda performed a musical number in O Carnaval Cantado no Rio (1932, the first sound documentary on the subject) and three songs in A Voz do Carnaval (1933), which combined footage of street celebrations in Rio with a fictitious plot providing a pretext for musical numbers.
Miranda's next screen performance was in the musical Hello, Hello Brazil! (1935), in which she performed its closing number: the marcha "Primavera no Rio", which she had recorded for Victor in August 1934. Several months after the film's release, according to Cinearte magazine, "Carmen Miranda is currently the most popular figure in Brazilian cinema, judging by the sizeable correspondence that she receives". In her next film, Estudantes (1935), she had a speaking part for the first time. Miranda played Mimi, a young radio singer (who performs two numbers in the film) falls in love with a university student (played by singer Mário Reis).
She starred in the next co-production from the Waldow and Cinédia studios, the musical Hello, Hello, Carnival! (1936), which contained a roll call of popular-music and radio performers (including Miranda's sister, Aurora). A standard backstage plot permitted 23 musical numbers and, by contemporary Brazilian standards, the film was a major production. Its set reproduced the interior of Rio's plush Atlântico casino (where some scenes were filmed) and was a backdrop for some of its musical numbers. Miranda's stardom is evident in a film poster with a full-length photograph of her and her name topping the cast list.
Although she became synonymous with colorful fruit hats during her later career, she began wearing them only in 1939. Miranda appeared in the film Banana da Terra that year in a glamorous version of the traditional dress of a poor black girl in Bahia: a flowing dress and a fruit-hat turban. She sang "O que é que a baiana tem?"; which intended to empower a social class that was usually disparaged.
Producer Lee Shubert offered Miranda an eight-week contract to perform in The Streets of Paris on Broadway after seeing her perform in 1939 at Rio's Cassino da Urca. Although she was interested in performing in New York, she refused to accept the deal unless Shubert agreed to also hire her band, the Bando da Lua. He refused, saying that there were many capable musicians in New York who could back her. Miranda remained steadfast, feeling that North American musicians would not be able to authenticate the sounds of Brazil. Shubert compromised, agreeing to hire the six band members but not paying for their transport to New York. President Getúlio Vargas, recognizing the value to Brazil of Miranda's tour, announced that the Brazilian government would pay for the band's transportation on the Moore-McCormack Lines between Rio and New York. Vargas believed that Miranda would foster ties between the northern and southern hemispheres and act as a goodwill ambassador in the United States, increasing Brazil's share of the American coffee market. Miranda took the official sanction of her trip and her duty to represent Brazil to the outside world seriously. She left for New York on the SS Uruguay on 4 May 1939, a few months before World War II.
In the US
Miranda arrived in New York on 18 May 1939. She and the band had their first Broadway performance on 19 June 1939 in The Streets of Paris. Although Miranda's part was small (she only spoke four words), she received good reviews and became a media sensation. According to New York Times theater critic Brooks Atkinson, most of the musical numbers "ap[e] the tawdry dullness" of genuine Paris revues and "the chorus girls, skin-deep in atmosphere, strike what Broadway thinks a Paris pose ought to be". Atkinson added, however, that "South American contributes the [revue's] most magnetic personality" (Miranda). Singing "rapid-rhythmed songs to the accompaniment of a Brazilian band, she radiates heat that will tax the Broadhurst [theater] air-conditioning plant this Summer". Although Atkinson gave the revue a lukewarm review, he wrote that Miranda made the show.
Syndicated columnist Walter Winchell wrote for the Daily Mirror that a star had been born who would save Broadway from the slump in ticket sales caused by the 1939 New York World's Fair. Winchell's praise of Carmen and her Bando da Lua was repeated on his Blue Network radio show, which reached 55 million listeners daily. The press called Miranda "the girl who saved Broadway from the World's Fair". Her fame grew quickly, and she was formally presented to President Franklin D. Roosevelt at a White House banquet shortly after her arrival. According to a Life magazine reviewer:
Partly because their unusual melody and heavy accented rhythms are unlike anything ever heard in a Manhattan revue before, partly because there is not a clue to their meaning except the gay rolling of Carmen Miranda's insinuating eyes, these songs, and Miranda herself, are the outstanding hit of the show.
When news of Broadway's latest star (known as the Brazilian Bombshell) reached Hollywood, Twentieth Century-Fox began to develop a film featuring Miranda. Its working title was The South American Way (the title of a song she had performed in New York), and the film was later entitled Down Argentine Way (1940). Although its production and cast were based in Los Angeles, Miranda's scenes were filmed in New York because of her club obligations. Fox could combine the footage from both cities because the singer had no dialogue with the other cast members. Down Argentine Way was successful, grossing $2 million that year at the US box office.
The Shuberts brought Miranda back to Broadway, teaming her with Olsen and Johnson, Ella Logan, and the Blackburn Twins in the musical revue Sons o' Fun on 1 December 1941. The show was a hodgepodge of slapstick, songs, and skits; according to New York Herald Tribune theater critic Richard Watts, Jr., "In her eccentric and highly personalized fashion, Miss Miranda is by way of being an artist and her numbers give the show its one touch of distinction." On 1 June 1942, she left the production when her Shubert contract expired; meanwhile, she recorded for Decca Records.
Miranda was encouraged by the US government as part of Roosevelt's Good Neighbor policy, designed to strengthen ties with Latin America. It was believed that performers like her would give the policy a favorable impression with the American public. Miranda's contract with 20th Century Fox lasted from 1941 to 1946, coinciding with the creation and activities of the Office of the Coordinator of Inter-American Affairs. The goal of the OCIAA was to obtain support from Latin American society and its governments for the United States.
The Good Neighbor policy had been linked to US interference in Latin America; Roosevelt sought better diplomatic relations with Brazil and other South American nations, and pledged to refrain from military intervention (which had occurred to protect US business interests in industries such as mining or agriculture). Hollywood was asked to help, and Walt Disney Studios and 20th Century Fox participated. Miranda was considered a goodwill ambassador and a promoter of intercontinental culture.
Brazilian criticism
Although Miranda's US popularity continued to increase, she began to lose favor with some Brazilians. On 10 July 1940, she returned to Brazil and was welcomed by cheering fans. Soon after her arrival, however, the Brazilian press began criticizing Miranda for accommodating American commercialism and projecting a negative image of Brazil. Members of the upper class felt that her image was "too black", and she was criticized in a Brazilian newspaper for "singing bad-taste black sambas". Other Brazilians criticized Miranda for playing a stereotypical "Latina bimbo": in her first interview after her arrival in the US in the New York World-Telegram interview, she played up her then-limited knowledge of the English language: "I say money, money, money. I say twenty words in English. I say money, money, money and I say hot dog!"
On 15 July, Miranda appeared in a charity concert organized by Brazilian First Lady Darci Vargas and attended by members of Brazil's high society. She greeted the audience in English, and was met with silence. When Miranda began singing "The South American Way", a song from one of her club acts, the audience began to boo her. Although she tried to finish her act, she gave up and left the stage when the audience refused to let up. The incident deeply hurt Miranda, who wept in her dressing room. The following day, the Brazilian press criticized her as "too Americanized".
Weeks later, Miranda responded to the criticism with the Portuguese song "Disseram que Voltei Americanizada" ("They Say I've Come Back Americanized"). Another song, "Bananas Is My Business", was based on a line from one of her films and directly addressed her image. Upset by the criticism, Miranda did not return to Brazil for 14 years.
Her films were scrutinized by Latin American audiences for characterizing Central and South America in a culturally-homogeneous way. When Miranda's films reached Central and South American theaters, they were perceived as depicting Latin American cultures through the lens of American preconceptions. Some Latin Americans felt that their cultures were misrepresented, and felt that someone from their own region was misrepresenting them. Down Argentine Way was criticized, with Argentines saying that it failed to depict Argentine culture. Its lyrics were allegedly replete with non-Argentine themes, and its sets were a fusion of Mexican, Cuban, and Brazilian culture. The film was later banned in Argentina for "wrongfully portraying life in Buenos Aires". Similar sentiments were voiced in Cuba after the debut of Miranda's Weekend in Havana (1941), with Cuban audiences offended by Miranda's portrayal of a Cuban woman. Reviewers noted that an import from Rio could not accurately portray a woman from Havana, and Miranda did not "dance anything Cuban". Her performances were arguably hybrids of Brazilian and other Latin cultures. Critics said that Miranda's other films misrepresented Latin locales, assuming that Brazilian culture was a representation of Latin America.
Peak years
During the war years, Miranda starred in eight of her 14 films; although the studios called her the Brazilian Bombshell, the films blurred her Brazilian identity in favor of a Latin American image. According to a Variety review of director Irving Cummings' That Night in Rio (1941, Miranda's second Hollywood film), her character upstaged the leads: "[Don] Ameche is very capable in a dual role, and Miss [Alice] Faye is eye-appealing but it’s the tempestuous Miranda who really gets away to a flying start from the first sequence". The New York Times article said, "Whenever one or the other Ameche character gets out of the way and lets [Miranda] have the screen, the film sizzles and scorches wickedly." Years later, Clive Hirschhorn wrote: "That Night in Rio was the quintessential Fox war-time musical – an over-blown, over-dressed, over-produced and thoroughly irresistible cornucopia of escapist ingredients." On 24 March 1941, Miranda was one of the first Latinas to imprint her hand- and footprints on the sidewalk of Grauman's Chinese Theatre.
Her next film, Week-End in Havana, was directed by Walter Lang and produced by William LeBaron. The cast included Alice Faye, John Payne, and Cesar Romero. After the studio's third effort to activate the "Latin hot blood", Fox was called "Hollywood's best good neighbor" by Bosley Crowther. During the week it was released, the film topped the box office (surpassing Citizen Kane, released a week earlier).
In 1942, 20th Century-Fox paid $60,000 to Lee Shubert to terminate his contract with Miranda, who finished her Sons o' Fun tour and began filming Springtime in the Rockies. The film, which grossed about $2 million, was one of the year's ten most-successful films at the box office. According to a Chicago Tribune review, it was "senseless, but eye intriguing ... The basic plot is splashed over with songs and dances and the mouthings and eye and hand work of Carmen Miranda, who sure would be up a tree if she ever had to sing in the dark".
In 1943, she appeared in Busby Berkeley's The Gang's All Here. Berkeley's musicals were known for lavish production, and Miranda's role as Dorita featured "The Lady in the Tutti-Frutti Hat". A special effect made her fruit-bedecked hat appear larger than possible. By then she was typecast as an exotic songstress, and under her studio contract she was obligated to make public appearances in her ever-more-outlandish film costumes. One of her records, "I Make My Money With Bananas" seemed to pay ironic tribute to her typecasting. The Gang's All Here was one of 1943's 10 highest-grossing films and Fox's most expensive production of the year. It received positive reviews, although The New York Times film critic wrote: "Mr. Berkeley has some sly notions under his busby. One or two of his dance spectacles seem to stem straight from Freud."
The following year Miranda made a cameo appearance in Four Jills in a Jeep, a film based on a true adventure of actresses Kay Francis, Carole Landis, Martha Raye, and Mitzi Mayfair; Alice Faye and Betty Grable also made brief appearances. In 1944 Miranda also starred with Don Ameche in Greenwich Village, a Fox musical with William Bendix and Vivian Blaine in supporting roles. The film was poorly received; according to The New York Times, "Technicolor is the picture's chief asset, but still worth a look for the presence of Carmen Miranda". In her Miami News review, Peggy Simmonds wrote: "Fortunately for Greenwich Village, the picture is made in Technicolor and has Carmen Miranda. Unfortunately for Carmen Miranda, the production doesn't do her justice, the overall effect is disappointing, but still she sparkles the picture whenever she appears." Greenwich Village was less successful at the box office than Fox and Miranda had expected.
Miranda's third 1944 film was Something for the Boys, a musical comedy based on the Broadway musical with songs by Cole Porter and starring Ethel Merman. It was Miranda's first film without William LeBaron or Darryl F. Zanuck as producer. The producer was Irving Starr, who oversaw the studio's second-string films. According to Time magazine, the film "turns out to have nothing very notable for anyone".
By 1945, Miranda was Hollywood's highest-paid entertainer and the top female taxpayer in the United States, earning more than $200,000 that year ($2.88 million in 2020, adjusted for inflation).
Decline
After World War II, Miranda's films at Fox were produced in black-and-white, indicative of Hollywood's diminishing interest in her and Latin Americans in general. A monochrome Carmen Miranda reduced the box-office appeal of the backstage musical, Doll Face (1945), in which she was fourth on the bill. Miranda played Chita Chula, billed in the show-within-the-film as "the little lady from Brazil"—a cheerful comic sidekick to leading lady Doll Face (Vivian Blaine) with one musical number and little dialogue. A New York Herald Tribune review read, "Carmen Miranda does what she always does, only not well"; according to The Sydney Morning Herald, "Carmen Miranda appears in a straight part with only one singing number. The innovation is not a success, but the fault is the director's not Carmen's."
In If I'm Lucky (1946), her follow-up film for Fox when she was no longer under contract, Miranda was again fourth on the bill with her stock screen persona firmly in evidence: heavily accented English, comic malapropisms, and bizarre hairstyles recreating her famous turbans. When Miranda's contract with Fox expired on 1 January 1946, she decided to pursue an acting career free of studio constraints. Miranda's ambition was to play a lead role showcasing her comic skills, which she set out to do in Copacabana (1947, an independent production released by United Artists starring Groucho Marx). Although her films were modest hits, critics and the American public did not accept her new image.
Although Miranda's film career was faltering, her musical career remained solid and she was still a popular nightclub attraction. From 1948 to 1950, she joined the Andrews Sisters in producing and recording three Decca singles. Their first collaboration was on radio in 1945, when Miranda appeared on ABC's The Andrews Sisters Show. Their first single, "Cuanto La Gusta", was the most popular and reached number twelve on the Billboard chart. "The Wedding Samba", which reached number 23, followed in 1950.
After Copacabana, Joe Pasternak invited Miranda to make two Technicolor musicals for Metro-Goldwyn-Mayer: A Date with Judy (1948) and Nancy Goes to Rio (1950). In the first production MGM wanted to portray a different image, allowing her to remove her turban and reveal her own hair (styled by Sydney Guilaroff) and makeup (by Jack Dawn). Miranda's wardrobe for the film substituted elegant dresses and hats designed by Helen Rose for "baiana" outfits. She was again fourth on the bill as Rosita Cochellas, a rumba teacher who first appears about 40 minutes into the film and has little dialogue. Despite MGM's efforts to change Miranda's persona, her roles in both productions were peripheral, watered-down caricatures relying on fractured English and over-the-top musical and dance numbers.
In her final film, Scared Stiff (1953, a black-and-white Paramount production with Dean Martin and Jerry Lewis), Miranda's appeal was again muted. Returning full-circle to her first Hollywood film, Down Argentine Way, she had virtually no narrative function. Lewis parodies her, miming badly to "Mamãe Eu Quero" (which is playing on a scratched record) and eating a banana he plucks from his turban. Miranda played Carmelita Castilha, a Brazilian showgirl on a cruise ship, with her costumes and performances bordering on self-parody.
In April 1953, she began a four-month European tour. While performing in Cincinnati in October, Miranda collapsed from exhaustion; she was rushed to LeRoy Sanitarium by her husband, Dave Sebastian, and canceled four following performances.
Personal life
Desiring creative freedom, Miranda decided to produce her own film in 1947 and played opposite Groucho Marx in Copacabana. The film's budget was divided into about ten investors' shares. A Texan investor who owned one of the shares sent his brother, David Sebastian (23 November 1907 – 11 September 1990), to keep an eye on Miranda and his interests on the set. Sebastian befriended her, and they began dating.
Miranda and Sebastian married on 17 March 1947 at the Church of the Good Shepherd in Beverly Hills, with Patrick J. Concannon officiating. In 1948, Miranda became pregnant, but miscarried after a show. Although the marriage was brief, Miranda (who was Catholic) did not want a divorce. Her sister, Aurora, said in the documentary Bananas is My Business: "He married her for selfish reasons; she got very sick after she married and lived with a lot of depression". The couple announced their separation in September 1949, but reconciled several months later.
Miranda was discreet, and little is known about her private life. Before she left for the US, she had relationships with Mario Cunha, Carlos da Rocha Faria (son of a traditional family in Rio de Janeiro) and Aloísio de Oliveira, a member of the Bando da Lua. In the US, Miranda maintained relationships with John Payne, Arturo de Córdova, Dana Andrews, Harold Young, John Wayne, Donald Buka and Carlos Niemeyer. During her later years, in addition to heavy smoking and alcohol consumption, she began taking amphetamines and barbiturates, all of which took a toll on her health.
Death
Miranda performed at the New Frontier Hotel in Las Vegas in April 1955, and in Cuba three months later before returning to Los Angeles to recuperate from a recurrent bronchial ailment. On 4 August, she was filming a segment for the NBC variety series The Jimmy Durante Show. According to Durante, Miranda had complained of feeling unwell before filming; he offered to find her a replacement, but she declined. After completing "Jackson, Miranda, and Gomez", a song-and-dance number with Durante, she fell to one knee. Durante later said, "I thought she had slipped. She got up and said she was outa breath. I told her I'll take her lines. But she goes ahead with 'em. We finished work about 11 o'clock and she seemed happy."
After the last take, Miranda and Durante gave an impromptu performance on the set for the cast and technicians. The singer took several cast members and some friends home with her for a small party. She went upstairs to bed at about 3 a.m. Miranda undressed, placed her platform shoes in a corner, lit a cigarette, placed it in an ashtray and went into her bathroom to remove her makeup. She apparently came from the bathroom with a small, round mirror in her hand; in the small hall that led to her bedroom, she collapsed from a fatal heart attack. Miranda was 46 years old. Her body was found at about 10:30 a.m. lying in the hallway. The Jimmy Durante Show episode in which Miranda appeared was aired two months after her death, on 15 October 1955,. The episode began with Durante paying tribute to the singer, while also indicating that her family had given permission for the performance to be broadcast. A clip of the episode was included in the A&E Network's Biography episode about the singer.
In accordance with her wishes, Miranda's body was flown back to Rio de Janeiro; the Brazilian government declared a period of national mourning.
About 60,000 people attended her memorial service at the Rio town hall, and more than half a million Brazilians escorted her funeral cortège to the cemetery.
Miranda is buried in São João Batista Cemetery in Rio de Janeiro. In 1956 her belongings were donated by her husband and family to the Carmen Miranda Museum, which opened in Rio on 5 August 1976. For her contributions to the entertainment industry, Miranda has a star on the Hollywood Walk of Fame at the south side of the 6262 block of Hollywood Boulevard.
Image
Miranda's Hollywood image was that of a generic Latina, blurring distinctions between Brazil, Portugal, Argentina, and Mexico and samba, tango and habanera music. It was stylized and flamboyant; she often wore platform sandals and towering headdresses made of fruit, becoming known as "the lady in the tutti-frutti hat". Her enormous, fruit-laden hats were iconic visuals recognized worldwide; Saks Fifth Avenue developed a line of Miranda-inspired turbans and jewelry in 1939, and Bonwit Teller created mannequins resembling the singer.
Her tutti-frutti hat from The Gang's All Here (1943) inspired the United Fruit Company's Chiquita Banana logo the following year. During the 1960s, tropicália filmmakers in Brazil were influenced by Miranda's Hollywood films.
In 2009 she was the subject of São Paulo Fashion Week and a short film, Tutti Frutti, by German photographer Ellen von Unwerth. Two years later, Macy's wanted to use Miranda to promote a clothing line. Other products influenced by her stardom are the Brazilian fashion brand Malwee's "Chica Boom Chic" collection for women, and the Chica Boom Brasil company's high-end Carmen Miranda line, which includes Miranda-themed bags, wall clocks, crockery and placemats.
Legacy
According to Brazilian musician Caetano Veloso, "Miranda was first a cause of both pride and shame, and later, a symbol that inspired the merciless gaze we began to cast upon ourselves ... Carmen conquered 'White' America as no other South American has done or ever would, in an era when it was enough to be 'recognizably Latin and Negroid' in style and aesthetics to attract attention." Miranda was the first Brazilian artist to gain worldwide fame in the 1950s, and she continued to define South American music in North America for decades. In 1991, Veloso wrote that "today, anything associated with Brazilian music in America – or with any music from the Southern Hemisphere in the Northern – makes us think of Carmen Miranda. And to think of her is to think about the complexity of this relationship"
Although she was more popular abroad than in Brazil at her death, Miranda contributed to Brazilian music and culture. She was accused of commercializing Brazilian music and dance, but Miranda can be credited with bringing its national music (the samba) to a global audience. She introduced the baiana, with wide skirts and turbans, as a Brazilian showgirl at home and abroad. The baiana became a central feature of Carnival for women and men.
Since her death, Miranda is remembered as an important Brazilian artist and one of the most influential in Hollywood. She was one of 500 stars nominated for the American Film Institute's 50 greatest screen legends.
On 25 September 1998, a square in Hollywood was named Carmen Miranda Square in a ceremony headed by honorary mayor of Hollywood Johnny Grant (one of Miranda's friends since World War II) and attended by Brazilian consul general Jorió Gama and the Bando da Lua. The square is located at the intersection of Hollywood Boulevard and Orange Drive, across from Grauman's Chinese Theatre, near where Miranda gave an impromptu performance on V-J Day.
To commemorate the 50th anniversary of Miranda's death, a Carmen Miranda Forever exhibit was displayed at the Museum of Modern Art in Rio de Janeiro in November 2005 and at the Latin America Memorial in São Paulo the following year. In 2005, Ruy Castro published a 600-page biography of "the most famous Brazilian woman of the 20th century." Brazilians "tend to forget," Castro told Mac Margolis of Newsweek, that "no Brazilian woman has ever been as popular as Carmen Miranda – in Brazil or anywhere."
Dorival Caymmi's "O que é que a baiana tem?" was his first work to be recorded, and introduced to the US the samba rhythm and Miranda in 1939; it was a Latin category inductee of the 2008 National Recording registry list.
Miranda, Selena, Celia Cruz, Carlos Gardel and Tito Puente appeared on a set of commemorative US Postal Service Latin Music Legends stamps, painted by Rafael Lopez, in 2011. Marie Therese Dominguez, vice president of government relations and public policy for the postal service, said: "From this day forward, these colorful, vibrant images of our Latin music legends will travel on letters and packages to every single household in America. In this small way, we have created a lasting tribute to five extraordinary performers, and we are proud and honored to share their legacy with Americans everywhere through these beautiful stamps".
Down Argentine Way and The Gang's All Here were inductees of the 2014 National Film Registry list. The 2016 Summer Olympics closing ceremony included a tribute to Miranda before the athletes' parade, with Roberta Sá portraying the singer. On 9 February 2017, Miranda was the subject of a Google Doodle created by Google artist Sophie Diao commemorating the 108th anniversary of her birth.
In popular culture
In The House Across the Bay (1940, produced by Walter Wanger and released by United Artists), Joan Bennett performed the Mirandaesque "Chula Chihuahua." Babes on Broadway (1941) finale opens with "Bombshell from Brazil", where Mickey Rooney (dressed as Miranda) sings "Mamãe Eu Quero". The finale of Time Out for Rhythm (1941) begins with the Three Stooges performing a rumba number; Curly Howard is dressed as Carmen Miranda. In 1943's Yankee Doodle Daffy, Daffy Duck performs "Chica Chica Boom Chic" while dressed as Carmen Miranda. The United Fruit Company created a banana-woman character in 1944, Chiquita, whose fruit hat resembled Miranda's. In Small Town Deb (1942), Jane Withers does an impression of Carmen Miranda and sings "I, Yi, Yi, Yi, Yi (I Like You Very Much)," which was one of Miranda's signature songs. In the British comedy, Fiddlers Three, Tommy Trinder gives a bizarre performance as "Senorita Alvarez" from Brazil, a bold impersonation of Miranda.
The song "Mamãe Eu Quero" was featured in the 1943 Tom & Jerry short "Baby Puss", as performed by a trio of cartoon cats (Butch, Topsy and Meathead) with Topsy dressed up with a fruit hat, impersonating Carmen Miranda.
In Winged Victory (1944) Sascha Brastoff impersonates Carmen Miranda. In Mildred Pierce, Jo Ann Marlowe sings a Mirandaesque South American Way. In "Be a Pal", a season-one episode of I Love Lucy, Lucille Ball imitates Miranda and lip-syncs to "Mamãe Eu Quero".
In Diplomatic Courier (1952), during a nightclub sequence, Arthur Blake performs impersonations of Carmen Miranda, Franklin Delano Roosevelt and Bette Davis. Caetano Veloso appeared dressed as Miranda in January 1972, in his first show after his return to Brazil from London.
Jimmy Buffett's 1973 album A White Sport Coat and a Pink Crustacean contains the song "They Don't Dance Like Carmen No More".
In 1976, musician Leslie Fish wrote and recorded a song called "Carmen Miranda's Ghost," on her album Folk Songs for Folk Who Ain't Even Been Yet. The song describes the chaos that ensues when the singer's ghost appears on a space station. It was later the basis for a multi-author short story anthology edited by Don Sakers. John Cale's 1989 Words for the Dying features a song co-written with Brian Eno titled "The Soul of Carmen Miranda."
Helena Solberg filmed a documentary, Carmen Miranda: Bananas is My Business, in 1995. Eduardo Dusek recorded a cover version of the song "Tá-Hi (Pra Você Gostar de Mim)", written by Joubert de Carvalho and recorded by Miranda in 1930, for the 2003 telenovela Chocolate com Pimenta. In 2004, Caetano Veloso and David Byrne performed live at Carnegie Hall a song they had written together, "Dreamworld: Marco de Canaveses", that pays homage to Miranda. In 2007, BBC Four produced Carmen Miranda – Beneath the Tutti Frutti Hat, a one-hour documentary which included interviews with biographer Ruy Castro, niece Carminha and Mickey Rooney. That year, singer Ivete Sangalo recorded a cover version of the song "Chica Chica Boom Chic" for the DVD MTV ao Vivo. For Miranda's centenary, Daniela Mercury recorded a "duet" with the singer on a cover of "O Que É Que A Baiana Tem?", which includes the original 1939 recording.
At the Closing Ceremony of the 2016 Rio Summer Olympics, a few seconds' homage to Miranda was paid with an animated, projected image on the floor of the Maracana Stadium.
The film The Shape of Water (2017) features Miranda's song "Chica Chica Boom Chic".
Bonita Flamingo, a character in the children's show Noddy, is a flamingo spoof of Miranda.
In 2009, Miranda served as the inspiration for a photo shoot on the 12th season of the reality TV show, America's Next Top Model.
Filmography
Singles
Brazilian singles
1935
"Anoiteceu"
"Entre Outras Coisas"
"Esqueci de Sorrir"
"Foi Numa Noite Assim"
"Fogueira Do Meu Coração"
"Fruto Proibido"
"Cor de Guiné"
"Casaco de Tricô"
"Dia de Natal"
"Fala, Meu Pandeiro"
"Deixa Esse Povo Falar"
"Sonho de Papel" (recorded with Orchestra Odeon 10 May 1935)
"E Bateu-Se a Chapa" (recorded 26 June 1935)
"O Tique-Taque do Meu Coração" (recorded 7 August 1935)
"Adeus, Batucada" (recorded with Odeon Orchestra 24 September 1935)
"Querido Adão" (recorded with Odeon Orchestra 26 September 1935)
1936
"Alô, Alô, Carnaval"
"Duvi-dê-ó-dó"
"Dou-lhe Uma"
"Capelinha do Coração"
"Cuíca, Pandeiro, Tamborim ..."
"Beijo Bamba"
"Balancê"
"Entra no cordão"
"Como Eu Chorei"
"As Cantoras do Rádio" (recorded with Aurora Miranda and Odeon Orchestra 18 March 1936)
"No Tabuleiro da Baiana" (recorded with Louis Barbosa 29 September 1936)
"Como Vai Você?" (recorded with Ary Barroso 2 October 1936)
1937
"Dance Rumba"
"Em Tudo, Menos em Ti"
"Canjiquinha Quente"
"Cabaret No Morro"
"Baiana Do Tabuleiro"
"Dona Geisha"
"Cachorro Vira-Lata" (recorded 4 May 1937)
"Me Dá, Me Dá" (recorded 4 May 1937)
"Camisa Amarela" (recorded with the Odeon Group 20 September 1937)
"Eu Dei" (recorded 21 September 1937)
1938
"Endereço Errado"
"Falar!"
"Escrevi um Bilhetinho"
"Batalhão do amor"
"E a Festa, Maria?"
"Cuidado Com a Gaita do Ary"
"A Pensão Da Dona Stella"
"A Vizinha Das Vantagens"
"Samba Rasgado" (recorded with Odeon Group 7 March 1938)
"E o Mundo Não Se Acabou" ("And the World Would Not End") (recorded 9 March 1938)
"Boneca de Piche" (recorded with Odeon Orchestra 31 August 1938)
"Na Baixa do Sapateiro" (recorded with Orchestra Odeon 17 October 1938)
1939
"A Preta Do Acarajé"
"Deixa Comigo"
"Candeeiro"
"Amor Ideal"
"Essa Cabrocha"
"A Nossa Vida Hoje É Diferente"
"Cozinheira Grã-fina"
"O Que É Que a Bahiana Tem?" (recorded with Dorival Caymmi 27 February 1939)
"Uva de Caminhão" (recorded 21 March 1939)
"Camisa Listada" (recorded with Bando da Lua 28 August 1939)
1940
"Voltei pro Morro" (recorded 2 September 1940)
"Ela Diz Que Tem"
"Disso É Que Eu Gosto"
"Disseram que Voltei Americanizada" (recorded with Odeon Set 2 September 1940)
"Bruxinha de Pano"
"O Dengo Que a Nêga Tem"
"É Um Quê Que a Gente Tem"
"Blaque-Blaque"
"Recenseamento" (recorded 27 September 1940)
"Ginga-Ginga"
American singles
1939
"South American Way" (recorded with Bando da Lua 26 December 1939)
"Touradas Em Madrid"
"Marchinha do grande galo"
"Mamãe Eu Quero"
"Bambú, Bambú"
1941
"I, Yi, Yi, Yi, Yi (I Like You Very Much)" (recorded with Bando da Lua 5 January 1941)
"Alô Alô"
"Chica Chica Boom Chic" (recorded with Bando da Lua 5 January 1941)
"Bambalê"
"Cai, Cai" (recorded with Bando da Lua 5 January 1941)
"Arca de Noé"
"A Weekend in Havana"
"Diz Que Tem ..."
"When I Love I Love"
"Rebola, Bola" (recorded with Bando da Lua 9 October 1941)
"The Man With the Lollipop Song"
"Não Te Dou A Chupeta"
"Manuelo"
"Thank You, North America"
1942
"Chattanooga Choo Choo" (recorded with Bando da Lua 25 July 1942)
"Tic-tac do Meu Coração"
"O Passo Do Kanguru (Brazilly Willy)"
"Boncea de Pixe"
1945
"Upa! Upa!"
"Tico Tico"
1947
"The Matador (Touradas Em Madrid)" (recorded with the Andrews Sisters and Vic Schoen and his orchestra)
"Cuanto La Gusta" (recorded with the Andrews Sisters and Vic Schoen and his orchestra)
1949
"Asi Asi (I See, I See)" (recorded with the Andrews Sisters and Vic Schoen and his orchestra)
"The Wedding Samba" (recorded with the Andrews Sisters and Vic Schoen and his orchestra)
1950
"Baião Ca Room' Pa Pa" (recorded with the Andrews Sisters and Vic Schoen and his orchestra)
"Ipse-A-I-O" (recorded with The Andrews Sisters and Vic Schoen and his orchestra)
See also
Carioca
References
Further reading
Cardoso, Abel. Carmen Miranda, a Cantora d Brasil. Sorocaba. 1978. (Portuguese)
Gil-Montero, Martha. Brazilian Bombshell. Dutton Adult. 1988. 978–1556111280.
External links
Museu Carmen Miranda In the city of Rio de Janeiro.
Carmen Miranda at Brightlightsfilm.com
International Jose Guillermo Carrillo Foundation
At about the 24-minute mark, doing a fast dance with Durante, she falls to her knees, he helps her up, and she says she is all out of breath.
Carmen Miranda recordings at the Discography of American Historical Recordings.
1909 births
1955 deaths
Portuguese emigrants to Brazil
Musicians from Rio de Janeiro (city)
Brazilian film actresses
Brazilian contraltos
Brazilian female dancers
Brazilian stage actresses
Brazilian television actresses
Brazilian Roman Catholics
Samba musicians
World music musicians
Brazilian expatriates in the United States
RCA Records artists
20th Century Fox contract players
20th-century American actresses
20th-century Brazilian women singers
Women in Latin music
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"Miranda is a feminine given name of Latin origin, meaning \"worthy of admiration\". There are several variants.\n\nPeople\n Miranda (born 1984), Colombian singer, winner of La Voz Colombia\n Miranda Carter (born 1965), English writer and biographer\n Miranda Chartrand (born 1990), Canadian singer\n Miranda Connell (born 1938), English actress\n Miranda Cooper (born 1975), English pop singer\n Miranda Cosgrove, actress and singer\n Miranda Devine, Australian columnist and writer\n Miranda Fenner (1979–1998), American female youth who was murdered\n Miranda Grell, British Labour party politician found guilty of making false statements against her political opponent\n Miranda Grosvenor, bored fan in the US who made a full-time hobby of calling stars\n Miranda Hart (born 1972) English actress and comedian\n Miranda Hill (1836–1910), English social reformer\n Miranda Jarrett, pen name for American author Susan Holloway Scott\n Miranda July, performance artist\n Miranda Kerr, Australian model, Victoria's Secret Angel\n Miranda Krestovnikoff, British television presenter\n Miranda Kwok, Canadian actor and film producer\n Miranda Lambert, country and western singer-songwriter\n Miranda Lee, Australian author of romance novels\n Miranda Leek, American archer\n Miranda Macmillan, Countess of Stockton\n Miranda Myrat, Greek actress\n Miranda Nild (born 1997), Thai footballer\n Miranda Otto, Australian film and theatre actress\n Miranda Raison, English actress\n Miranda Lee Richards, American singer-songwriter\n Miranda Richardson, Academy Award-nominated English actress\n Miranda Sawyer, English journalist and broadcaster.\n Miranda Seymour, English literary critic, novelist, and biographer\n Miranda Silvergren (born 1973), Swedish psytrance artist and producer\n Miranda Stone, Canadian singer-songwriter\n Miranda Weese, American ballet dancer\n Miranda Yang (Xia Meng) (1933-2016), Hong Kong actress\n\nFictional characters\n Miranda (The Tempest), in the play The Tempest by English writer William Shakespeare\n Miranda, one of the characters from the Diva Starz toy line\n Miranda, the titular character of Miranda\n Miranda, the schoolgirl who goes missing in Picnic at Hanging Rock by Joan Lindsay\n Miranda (Doctor Who), in the British novel series Eighth Doctor Adventures\n Miranda (W.I.T.C.H.), in the American television series W.I.T.C.H.\n Miranda Bailey, Chief of Surgery and attending general surgeon at Grey-Sloan Memorial Hospital in the American television series Grey's Anatomy\n Miranda Barlow, from the Starz series Black Sails\n Miranda Carroll, from 2014 fiction novel Station Eleven by Canadian author Emily St. John Mandel\n Miranda Corneille, in the Canadian webcomic User Friendly\n Miranda Evans, in the British soap opera Doctors\n Miranda Feigelsteen, in the Canadian television series Mysterious Ways\n Miranda Goshawk, in the Harry Potter novel series by English author J. K. Rowling\n Miranda Grey, in the novel The Collector by English author John Fowles\n Miranda Hillard, the ex-wife of the main protagonist in the 1993 movie Mrs. Doubtfire\n Miranda Hobbes, in the American television series Sex and the City\n Miranda Jeffries, in the American film Chances Are\n Miranda Jones, in the anime series Transformers: Energon\n Miranda Jones, from Star Trek The Original Series, Episode Is There No Truth In Beauty?\n Miranda Keyes, in the American video game series Halo\n Miranda Killgallen, in the American television series As Told By Ginger\n Miranda Lawson, in the Mass Effect series\n Miranda Lotto, in the manga D.Gray-Man and the anime of the same name\n Miranda Montgomery, in the American television series All My Children\n Miranda North, in the film Life\n Miranda Priestly, in the novel The Devil Wears Prada by American author Lauren Weisberger\n Miranda Sanchez, in the American television series Lizzie McGuire\n Miranda Sings, character created on YouTube by Colleen Ballinger\n Miranda Tate, played by Marion Cotillard in the 2012 film The Dark Knight Rises\n Miranda Wright, in the American television series Bonkers\n\nReferences\n\nFeminine given names\nEnglish feminine given names",
"Miranda may refer to:\n\nLaw\n Miranda v. Arizona, an American legal case\n Miranda warning, an American police warning given to suspects about their rights, before they are interrogated\n\nPlaces\n\nAustralia\n Miranda, New South Wales\n Miranda railway station, New South Wales\n\nPortugal\n Miranda do Corvo, a município in Coimbra District, Centro\n Miranda do Douro (parish), a freguesia in Bragança District, Norte\n Miranda do Douro, a município in Bragança District, Norte\n Terra de Miranda, a plateau in Bragança District, Norte\n\nSpain\n Miranda (Avilés), a parish of Avilés, Asturias\n Belmonte de Miranda, Asturias\n Miranda de Arga, Navarre\n Miranda de Ebro, Castile and Leon\n , in Los Rábanos, in the Province of Soria, Castile and Leon\n Miranda del Castañar, in the Province of Salamanca, Castile and Leon\n\nUnited States\n Miranda, California\n Miranda, South Dakota\n\nVenezuela\n Miranda (state)\n Francisco de Miranda Municipality, Anzoátegui\n Francisco de Miranda, in Guárico\n Francisco de Miranda, in Táchira\n Miranda, Carabobo\n Miranda Municipality, Falcón\n Miranda Municipality, Mérida\n Miranda, in Trujillo\n Miranda, in Zulia\n\nOther places\nChâteau Miranda, a former castle in Belgium\n Miranda, Mato Grosso do Sul, Brazil\n Miranda, Cauca, Colombia\n Güinía de Miranda, Cuba\n Miranda, Molise, Italy\n Miranda, New Zealand\n Plaza Miranda, Philippines\n\nSolar system\n Miranda (moon), a moon orbiting Uranus\n\nArts and entertainment\n\nFilms and television\n Miranda (1948 film), a film about a mermaid by English director Ken Annakin\n Miranda (1985 film), a film by Italian director Tinto Brass\n Miranda (2002 film), a film by British director Marc Munden\n Miranda (TV series), a British television series\n Miranda, a country in the French film The Discreet Charm of the Bourgeoisie\n\nLiterature\n Miranda (The Tempest), a character from the Shakespeare play The Tempest\n Miranda (novel), a novel by Polish writer Antoni Lange\n\nMusic\n \"Miranda\", a song by Phil Ochs on his 1967 album Pleasures of the Harbor\n Miranda!, an Argentine electropop band\n Miranda (group), a French Eurodance group with the frontwoman Sandra Miranda García\n Miranda (Colombian singer), Colombian singer, winner of La Voz Colombia\n Miranda (album), an album by Icelandic band Tappi Tíkarrass\n\nOrganisations\n Miranda Camera Company, a Japanese camera manufacturer\n Miranda House, Delhi, a college for women at the University of Delhi, India\n Miranda Naturalists' Trust, a New Zealand conservation organisation\n\nTechnology\n Miranda (programming language), a computer programming language\n Miranda (satellite), a British satellite in low earth orbit\n VRSS-1, second Venezuelan satellite in low earth orbit, named after Francisco de Miranda\n Miranda IM, a computer software instant messaging client\n\nPeople\n Miranda (given name), includes list of real and fictional people with given name Miranda\n Miranda (surname), includes list of people with surname Miranda\n Miranda (footballer, born 1984), Brazilian footballer, currently at São Paulo, played for Brazil national team\n Miranda (footballer, born 1998), Brazilian footballer, currently at Covilhã\n Miranda (footballer, born 2000), Brazilian footballer, currently at Vasco da Gama\n Miranda Hart (born 1972), English comedian and actress, sometimes mononymously referred to as Miranda\n\nOther uses\n Miranda station (Caracas), a station of on the Los Teques Metro line of the Caracas Metro in Venezuela\n Miranda station (Valencia), a metro station in Valencia\n Miranda (ship), two merchant ships\n HMS Miranda, three ships of the British Royal Navy\n\nSee also\n Miranda herba, a historic term for the carnivorous plant Nepenthes distillatoria\n Miranda cophinaria, an alternative name for spider Argiope aurantia\n Miranda II, a fictional spaceship in the Japanese television series Transformers: Energon\n Mirinda, a brand of soft drink"
] |
[
"Prince Bernhard of Lippe-Biesterfeld",
"Marriage and children"
] |
C_6a2082aebb474143978bf0f0adc8d517_1
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Was he married?
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Was Prince Bernhard of Lippe-Biesterfeld married?
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Prince Bernhard of Lippe-Biesterfeld
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Bernhard met then-Princess Juliana at the 1936 Winter Olympics at Garmisch-Partenkirchen. Juliana's mother, Queen Wilhelmina, had spent most of the 1930s looking for a suitable husband for Juliana. As a Protestant of royal rank (the Lippe-Biesterfelds were a sovereign house in the German Empire), Bernhard was acceptable for the devoutly religious Wilhelmina. Wilhelmina left nothing to chance, and had her lawyers draft a very detailed prenuptial agreement that specified exactly what Bernhard could and could not do. The couple's engagement was announced on 8 September 1936, and they were married at The Hague on 7 January 1937. Earlier, Bernhard had been granted Dutch citizenship, and changed the spelling of his names from German to Dutch. Previously styled as Serene Highness, he became a Royal Highness by Dutch Law. His appropriateness as consort of the future Queen would later become a matter of some public debate. Prince Bernhard was father of six children, four of them with Queen Juliana. The eldest daughter is Princess Beatrix, former Queen of the Netherlands, (1938). His other daughters with Juliana are Irene (1939), Margriet (1943) and Christina (1947). He had two illegitimate daughters. The first is Alicia von Bielefeld (born 21 June 1952), whose mother has not been identified. She is a landscape architect and lives in the United States. Prince Bernhard's sixth daughter, Alexia Grinda (a.k.a. Alexia Lejeune or Alexia Grinda-Lejeune, born in Paris on 10 July 1967), is his child by the French socialite and fashion model Helene Grinda. Although rumours about these two children had already spread, it was made official after his death. In December 2008, Dutch historian Cees Fasseur claimed that former British Conservative Cabinet Minister Jonathan Aitken was the result of a wartime affair between Prince Bernhard and Aitken's mother, previously Penelope Maffey. CANNOTANSWER
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they were married at The Hague on 7 January 1937.
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Prince Bernhard of Lippe-Biesterfeld (later Prince Bernhard of the Netherlands, ; 29 June 1911 – 1 December 2004) was a German-born nobleman who was the consort to Queen Juliana of the Netherlands; they were the parents of four children, including Beatrix, who was Queen of the Netherlands from 1980 to 2013.
He belonged to the princely House of Lippe and was a nephew of the Principality of Lippe's last sovereign Leopold IV. From birth he held the title Count of Biesterfeld; his uncle raised him to princely rank with the style of Serene Highness in 1916. He studied law and worked as an executive secretary at the Paris office of IG Farben. In 1937 he married Princess Juliana of the Netherlands and was immediately given the title Prince of the Netherlands with the style of Royal Highness. Upon his wife's accession to the throne in 1948, he became the prince consort of the Netherlands.
Although his private life was rather controversial, Prince Bernhard was still generally regarded as a popular figure by the majority of the Dutch for his performance as a combat pilot and his activities as a liaison officer and personal aide to Queen Wilhelmina during World War II, and for his work during post-war reconstruction. During World War II, he was part of the London-based Allied war planning councils. He saw active service as a Wing Commander (RAF), flying both fighter and bomber planes into combat. He was a Dutch general and Supreme Commander of the Dutch Armed forces, involved in negotiating the terms of surrender of the German Army in the Netherlands. For proven bravery, leadership and loyalty during his wartime efforts, he was appointed a Commander of the Military William Order, the Netherlands' oldest and highest honour. After the war he was made Honorary Air Marshal of the Royal Air Force by Queen Elizabeth II of the United Kingdom. In 1969, Bernhard was awarded the Grand Cross (Special Class) of the Order of Merit of the Federal Republic of Germany.
Bernhard helped found the World Wildlife Fund (later renamed World Wide Fund for Nature), becoming its first president in 1961. In 1970, along with Prince Philip, Duke of Edinburgh and other associates, he established the WWF's financial endowment "The 1001: A Nature Trust". In 1954, he was a co-founder of the international Bilderberg Group, which has met annually since then to discuss corporate globalisation and other issues concerning Europe and North America. He was forced to step down from both groups after being involved in the Lockheed Bribery Scandal in 1976.
Early life
Bernhard was born Bernhard Leopold Friedrich Eberhard Julius Kurt Karl Gottfried Peter, Count of Biesterfeld in Jena, Saxe-Weimar-Eisenach, German Empire on 29 June 1911, the elder son of Prince Bernhard of Lippe and his wife, Baroness Armgard von Sierstorpff-Cramm. He was a grandson of Ernest, Count of Lippe-Biesterfeld, who was regent of the Principality of Lippe until 1904. He was also a nephew of the principality's last sovereign, Leopold IV, Prince of Lippe.
Because his parents' marriage did not conform with the marriage laws of the House of Lippe, it was initially deemed morganatic, so Bernhard was granted only the title of Count of Biesterfeld at birth. He and his brother could succeed to the Lippian throne only if the entire reigning House became extinct. In 1916, his uncle Leopold IV as reigning Prince raised Bernhard and his mother to Prince and Princess of Lippe-Biesterfeld, thereby retroactively according his parents' marriage dynastic status. The suffix Biesterfeld was revived to mark the beginning of a new cadet line of the House of Lippe.
After World War I, Bernhard's family lost their German Principality and the revenue that had accompanied it. But the family was still reasonably well-off. Bernhard spent his early years at Reckenwalde castle (Wojnowo, Poland), the family's new estate in East Brandenburg, thirty kilometres east of the River Oder. He was taught privately and received his early education at home. When he was twelve, he was sent to board at the Gymnasium in Züllichau (Sulechów). Several years later he was sent to board at a Gymnasium in Berlin, from which he graduated in 1929.
Bernhard suffered from poor health as a boy. Doctors predicted that he would not live very long. This prediction might have inspired Bernhard's reckless driving and the risks that he took in the Second World War and thereafter. The prince wrecked several cars and planes in his lifetime.
Bernhard studied law at the University of Lausanne, Switzerland and in Berlin. In the latter city, he also acquired a taste for fast cars, horse riding, and big-game hunting safaris. He was nearly killed in a boating accident and an aeroplane crash. He suffered a broken neck and crushed ribs in a 160 km/h (100 mph) car crash in 1938.
While at university, Bernhard joined the Nazi Party. He also enrolled in the Sturmabteilung (SA), which he left in December 1934 when he graduated and went to work for IG Farben. The Prince later denied that he had belonged to SA, to the Reiter-SS (SS Cavalry Corps), and to the NSKK, but these are well-documented memberships. While he was not a fierce champion of democracy, the Prince was never known to hold any radical political views or express any racist sentiments, although he admitted that he briefly had sympathised with Adolf Hitler's regime.
The Prince eventually went to work for the German chemical giant IG Farben in the early 1930s, then the world's fourth-largest company. (It survives today as BASF, AGFA, and Bayer). He joined the statistics department of IG Farben's Berlin N.W. 7 department, the key Nazi overseas espionage center (known as VOWI) that evolved into the economic intelligence arm of the Wehrmacht. He lodged with Count Paul von Kotzebue (1884-1966), an exiled Russian nobleman of German descent, and his wife Allene Tew, who was born in the United States. After training, Bernhard became secretary in 1935 to the board of directors at the Paris office.
Marriage and children
Bernhard met then-Princess Juliana at the 1936 Winter Olympics at Garmisch-Partenkirchen. Juliana's mother, Queen Wilhelmina, had spent most of the 1930s looking for a suitable husband for Juliana. As a Protestant of royal rank (the Lippes were a sovereign house in the German Empire), Bernhard was deemed acceptable for the devoutly religious Wilhelmina. They were distantly related, 7th cousins in particular, both descending from Lebrecht, Prince of Anhalt-Zeitz-Hoym. Wilhelmina left nothing to chance, and had her lawyers draft a very detailed prenuptial agreement that specified exactly what Bernhard could and could not do. The couple's engagement was announced on 8 September 1936, and they were married at The Hague on 7 January 1937. Earlier, Bernhard had been granted Dutch citizenship and changed the spelling of his names from German to Dutch. Previously styled as Serene Highness, he became a Royal Highness by Dutch law. His appropriateness as consort of the future Queen would later become a matter of some public debate.
Prince Bernhard fathered six children, four of them with Queen Juliana. The eldest daughter is Beatrix, (born 1938), who later became Queen of the Netherlands. His other daughters with Juliana are Irene (born 1939), Margriet (born 1943) and Christina (1947–2019).
He had two "natural", or illegitimate, daughters. The first is Alicia von Bielefeld (born in San Francisco on 21 June 1952), whose mother has been identified as Alicia Webber, a 19 years old German national, illegitimate daughter of German aviator and test pilot Hanna Reitsch. Von Bielefeld has become a landscape architect and lives in the United States. His sixth daughter, Alexia Grinda (a.k.a. Alexia Lejeune or Alexia Grinda-Lejeune, born in Paris on 10 July 1967), is his child by Hélène Grinda, a French socialite and fashion model. Although rumours about these two children were already widespread, their status as his daughters was made official after his death. In December 2008, Dutch historian Cees Fasseur claimed that Jonathan Aitken, former British Conservative Cabinet Minister, was also a child of Prince Bernhard, the result of his wartime affair with Penelope Maffey.
Attitudes to Nazi Germany
Prince Bernhard was a member of the "Reiter-SS", a mounted unit of the SS and had joined the Nazi party before the war. He later also joined the National Socialist Motor Corps.
Various members of his family and friends were aligned with the Nazis prior to the Second World War, and a number of them attended the royal wedding. Protocol demanded that the prospective Prince-Consort be invited to an audience with his head of state, who at the time was Adolf Hitler. Hitler gave an account of the conversation he had with Bernhard in his Tischgespräche (Table Conversations). This book was a collection of monologues, remarks, and speeches Hitler gave during lunch or dinner to those he had invited.
The Prince's brother, Prince Aschwin of Lippe-Biesterfeld, was an officer in the German Army. Although the secret services on both sides were interested in this peculiar pair of brothers, no improper contacts or leaks of information were ever discovered. He cut off relations with those members of his family who were enthusiastic Nazis. As a sign of his "Dutchness", near the end of the war, he spoke only Dutch when negotiating the surrender of German forces in the Netherlands.
Second World War
At the outset of the Second World War, during the German invasion of the Netherlands, the Prince, carrying a machine gun, organised the palace guards into a combat group and shot at German warplanes. The Royal family fled the Netherlands and took refuge in England. Disagreeing with Queen Wilhelmina's decision to leave the Kingdom, the young Prince Consort, aged 28, is said at first to have refused to go and to have wanted to oppose the Nazi occupation from within the country. However, in the end, he agreed to join his wife and became head of the Royal Military Mission based in London. His wife Princess Juliana and their children continued on to Canada, where they remained until the end of the war.
In England, Prince Bernhard asked to work in British Intelligence. The War Admiralty, and later General Eisenhower's Allied Command offices, did not trust him enough to allow him access to sensitive intelligence information. On the recommendation of Bernhard's friend and admirer King George VI, however, who was also of German aristocratic descent through his mother Mary of Teck and his great-grandfather Prince Albert, and after Bernhard was personally screened by British intelligence officer Ian Fleming at the behest of Churchill, he was later given work to do in the Allied War Planning Councils.
"For Bernhard, the Prince of the Netherlands, the war was a frustrating business. Born a German, he had married Queen Wilhelmina's only child, Princess Juliana, and in due time made a conscious and meaningful transition of loyalties to his new homeland. Because of this, and in view of the doubts his background initially evoked among some Britons, he longed more than anyone for a chance to get at Holland's aggressors." Erik Hazelhoff Roelfzema aka "Soldier of Orange", decorated war hero.
On 25 June 1940, three days after France fell to the German war machine, Bernhard spoke on the Overseas Service of the BBC. He called Hitler a German tyrant and expressed his confidence that Britain would defeat the Third Reich.
In 1940, Flight Lieutenant Murray Payne gave the prince instruction in flying a Spitfire. The prince made 1,000 flight-hours in a Spitfire with the RAF's No. 322 (Dutch) Squadron RAF, wrecking two planes during landings. He remained an active pilot throughout his life and flew his last aeroplane 53 years later, with his grandson and heir to the throne, who inherited his passion for flying.
In 1941, Prince Bernhard was given the honorary rank of wing commander in the Royal Air Force. As "Wing Commander Gibbs (RAF)", Prince Bernhard flew over occupied Europe, attacking V-1 launch pads in a B-24 Liberator, bombing Pisa, and engaging submarines over the Atlantic in a B-25 Mitchell, and conducting reconnaissance over enemy-held territory in an L-5 Grasshopper. Prince Bernhard was awarded the Dutch Airman's Cross for his "ability and perseverance" (Dutch: "bekwaamheid en volharding"). In 1941 he also received a promotion to Honorary Air Commodore.
He also helped organise the Dutch resistance movement and acted as the personal secretary for Queen Wilhelmina.
Queen Wilhelmina erased the style "honorary" (the exact words were "à la suite") in the decree promoting Bernhard to General. In this unconstitutional manner, she gave this Royal Prince a status that was never intended by either Parliament or her Ministers. The Minister of Defence did not choose to correct the Monarch, and the Prince took an active and important role in the Dutch Armed forces.
By 1944, Prince Bernhard became Commander of the Dutch Armed Forces. After the liberation of the Netherlands, he returned with his family and became active in the negotiations for the German surrender. He was present during the Armistice negotiations and German surrender at Hotel de Wereld ("The World Hotel"), Wageningen in The Netherlands on 5 May 1945, where he avoided speaking German.
The Prince was a genuine war hero in the eyes of most of the Dutch; he kept cordial relations with the Communists who fought against the Nazis. In the post-war years, he earned respect for his work in helping to reinvigorate the economy of the Netherlands.
Postwar roles
After the War, the position of Inspector General was created for the Prince.
On the 4th of September 1948, his mother in law Queen Wilhelmina abdicated the throne and Juliana became Queen of the Netherlands and Bernhard became Prince Consort of the Netherlands. He was made a member of the boards of supervisors of Fokker Aircraft and KLM Royal Dutch Airlines, and within a few years he had been invited to serve as an adviser or non-executive director of numerous corporations and institutions. There have been claims that KLM helped Nazis to leave Germany for Argentina on KLM flights while Bernhard was on its board. After a 1952 trip with Queen Juliana to the United States, Prince Bernhard was heralded by the media as a business ambassador extraordinaire for the Netherlands.
With his global contacts having been approached by the secretive Polish diplomat, Józef Retinger, in May 1954 Bernhard was a key figure in organising a meeting at the Bilderberg Hotel in the Netherlands for the business elite and intellectuals of the Western World to discuss the economic problems in the face of what they characterised as the growing threat from Communism. This first meeting was successful, and it became an annual gathering known as the Bilderberg Group. The idea for the European Union, first proposed by Robert Schuman on 9 May 1950, was encouraged at Bilderberg.
Prince Bernhard was a very outspoken person who often flouted protocol by remarking upon subjects about which he felt deeply. Almost until his last day, he called for more recognition for the Polish veterans of the Second World War, who had figured greatly in the liberation of the Netherlands. But it was not until after his death that the Dutch Government publicly recognised the important role of the Polish Army in the liberation: on 31 May 2006, at the Binnenhof in The Hague, Queen Beatrix conferred the Military William Order, the highest Dutch military decoration, on the Polish 1st Independent Parachute Brigade. The award is now worn by the 6th Airborne Brigade which inherited the battle honours of the brigade.
Friendships and international connections
Prince Bernhard was seen as a jet-setting and charismatic ambassador for the Dutch during post-war reconstruction. Because of his connections, Prince Bernhard reportedly maintained friendships with several high-profile international figures. They included Nelson Mandela, David Rockefeller, Mohammad Reza Pahlavi, Ian Fleming, and Walter Bedell Smith.
Scandals and rumours
Hofmans Affair
In the mid-1950s, Queen Juliana and Prince Bernhard's marriage faced significant strain because of the ongoing influence of Greet Hofmans, a faith healer and layer-on of hands. For nine years she acted as a confidante and adviser to Queen Juliana, often residing at Palace Soestdijk. Originally, Hofmans was introduced to Queen Juliana at the initiative of Prince Bernhard in 1948 to treat an eye illness of their youngest daughter, Princess Christina (then still called Marijke). This illness arose because Juliana was infected with rubella during pregnancy. Hofmans developed a great influence on the Queen, encouraging pacifist ideas. In the period of the Cold War, this caused a crisis in the Royal Household.
While the Dutch press did not report widely on the issue, outside the Netherlands, a great deal was written about the Hofmans affair. On 13 June 1956, an article was published in the German magazine Der Spiegel, titled "Zwischen Königin und Rasputin" – "between the Queen and her Rasputin". It portrayed Hofmans in a less-than-flattering way. Later, Bernhard admitted that he had personally provided the information for the article. Observers said that, in doing so, he hoped to have Hofmans removed from the court. In the face of escalating tensions, the Prime Minister, Willem Drees appointed a committee of "three wise men" (elder statesmen) to advise the royal couple. Hofmans was banished as were various allies and supporters who had grown to prominence within the Royal Household.
In 2008 the report of the "three wise men" was made public. Historian Cees Fasseur drew from it for his book, Juliana & Bernhard (2008); in addition, the Queen had granted him access to the private royal archive. He noted that Bernhard was reprimanded in 1956 for having leaked confidential information to the international press. Fasseur said that Bernhard resorted to bringing in the international press only after repeated, desperate and often dramatic pleading with his wife to distance herself from the Hofmans group. Fasseur wrote:
"Bernard was obviously a free spirited chap, who independently went about his business. But he was still very much a family man. I got the feeling he was the only one that was seeing things were getting completely out of hand and tried to salvage the situation as much as he could."
Lockheed scandal
Scandal rocked the Royal family in 1976 when the press reported that Prince Bernhard had accepted a US$1.1 million bribe from U.S. aircraft manufacturer Lockheed Corporation to influence the Dutch government's purchase of fighter aircraft. At the time he had served on more than 300 corporate boards and committees worldwide and had been praised in the Netherlands for his efforts to promote the economic well-being of the country. Prime Minister of the Netherlands Joop den Uyl ordered an inquiry into the Lockheed affair. Prince Bernhard refused to answer reporters' questions, stating: "I am above such things".
The Dutch and international press headlined the stories for months. They also brought up records of Prince Bernhard's Reiter SS membership and details of his numerous extramarital affairs. They noted he had purchased a luxurious Paris apartment for his mistress Hélène Grinda (granddaughter of Édouard Grinda), with whom he had a daughter, Alexia, who was illegitimate. Bernhard had an older illegitimate daughter, Alicia, born in the United States (with a German pilot whom he met in Mexico in 1951).
On 26 August 1976, a full report of Prince Bernhard's activities was released to a shocked Dutch public. The Prince's own letter of 1974, to Lockheed Corporation, was publicised; he had demanded "commissions" be paid to him on Dutch government aircraft purchases. This was very damaging evidence of improper conduct by the man who was Inspector-General of the Dutch Armed Forces. Out of respect for Queen Juliana, the government did not press charges against Bernhard.
Prince Bernhard resigned as Inspector-General of the Dutch Armed Forces. He was no longer officially allowed to wear a uniform in public. But a few years later, he was in full military dress when he attended the 1979 funeral of Lord Mountbatten in London.
Prime Minister Joop den Uyl made a statement in Parliament and told the delegates that the Prince would also resign from his various high-profile positions in businesses, charities, and other institutions. The Dutch States-General voted against criminal prosecution. Prince Bernhard turned over the Presidency of the international World Wildlife Fund to Prince Philip, Duke of Edinburgh.
In an interview published after his death, on 14 December 2004, Prince Bernhard admitted that he had accepted more than one million dollars (US) in bribes from Lockheed. He acknowledged it was a mistake and claimed that all of the money went to the WWF. He said: "I have accepted that the word Lockheed will be carved on my tombstone." He also confirmed having fathered two illegitimate daughters.
In February 2008, Joop den Uyl's biography claimed that the official report investigating the Lockheed bribe scandal also presented proof that the Prince had accepted money from yet another aerospace firm: Northrop. The former Prime Minister claimed he had not made the information public to protect the Dutch monarchy.
Project Lock
In 1988, Prince Bernhard and Princess Juliana sold two paintings from their personal collection to raise money for the World Wildlife Fund. The paintings sold for GBP700,000, which was deposited in a Swiss WWF bank account. In 1989, however, Charles de Haes, Director-General of the WWF, transferred GBP500,000 back to Bernhard, for what De Haes called a private project. In 1991, newspapers reported what this private project was: Prince Bernhard had hired KAS International, owned by Special Air Service founder Sir David Stirling, to use mercenaries – mostly British – to fight poachers in nature reserves. The paramilitary group infiltrated organisations profiting from illegal trade in ivory in order to arrest them.
This Project Lock seemed to have backfired enormously, however. The hired mercenaries had not only infiltrated the illegal trade, they were also participating in it.
In 1995, Nelson Mandela called upon the Kumleben Commission to investigate, among other things, the role of the WWF in apartheid-South Africa. In the report that followed, it was suggested that mercenaries from Project Lock had planned assassinations of ANC members and that mercenaries had been running training camps in the wildlife reserves, training fighters from the anti-communist groups UNITA and Renamo. Prince Bernhard was never accused of any crime in this context but the Project Lock scandal negatively impacted the Prince's reputation.
Additional controversies and rumours
Prince Bernhard garnered media attention when, on 30 October 2002, he paid the fines of two Albert Heijn supermarket staff members, who were convicted of assaulting a shoplifter after they detained him.
The 2009 publication HRH: High Stakes at the Court of His Royal Highness by historian Harry Veenendaal and journalist Jort Kelder alleges that the Prince in 1950 attempted to oust the young government of the newly founded Republic of Indonesia and place himself to lead the Islands as Viceroy similar to Lord Mountbatten's role in British India. This was particularly contentious as in 1949 the Netherlands had already officially recognised its former colony as an independent nation.
A 2016 biography by Jolande Withuis about his wife queen Juliana, titled Juliana, posited further rumours including that he had once sexually assaulted a minor, that he had refused to divorce the queen twice, and that later on during their final years in life he prohibited Juliana from seeing him.
Death
In 1994 the Prince had a colon tumor removed and suffered severe complications due to respiratory distress. In December, his daughter Queen Beatrix rushed to the hospital straight after landing from a trip to Africa. By Christmas the prospect of death had faded and spring the next year he recovered enough to go home. His health problems continued in 1998 when he had a prostate swelling and in 1999 when he suffered difficulties breathing and talking. He did, however, attend the wedding of his grandson, straight after having prostate surgery. In 2000, his life was endangered again when he suffered neurological complications and continued breathing problems. Two days after intensive medical (and media) attention the Royal Press Office issued a statement the Prince was reading newspapers again.
Over the following years Bernhard continued to appear at the military parades on the national liberation day celebrating the defeat of Nazi Germany. Only when his wife Juliana died in March 2004 did the Prince become exceedingly fragile. Up to the last moment it remained uncertain if he could attend the royal funeral, which he eventually managed to attend. He said his final farewells to his war comrades on Liberation Day in May and in November that same year he was diagnosed with untreatable cancer.
Prince Bernhard died of lung cancer at the age of 93 at University Medical Center Utrecht in Utrecht on 1 December 2004, two years after the death of his son-in-law Prince Claus; his death suffered from malignant lung and intestinal tumors. On 11 December 2004, he was interred with a state funeral at the Nieuwe Kerk, Delft. Bernhard's funeral was different from those of Prince Claus and Queen Juliana in that Bernhard's coffin was transported on the undercarriage of a cannon instead of in the traditional carriage used when the coffins of Prince Claus and Queen Juliana were transported to Delft. Together with the playing of many military marches and the forming of guards of honour by Second World War veterans this gave the funeral procession a military character as the late Prince, a Second World War veteran, had wished. As a final tribute to his former military role in the Royal Netherlands Air Force, three modern F-16 jet fighters and a World War II Spitfire plane performed a low flypast during the funeral in a classic missing man formation.
In popular culture
In the years after Bernhard died his life story has been the inspiration for literature, theatre, television and comic books. In 2010 fact and fiction of the life of Bernhard was portrayed in a Dutch television series. In a biographical dissertation by Dutch journalist and historian Annejet van der Zijl published in March 2010, Bernhard was called "a failure" in the history of the Dutch Royal Family and a "creature of his own myths".
Titles, styles and honours
Titles
29 June 1911 – 1916: Count Bernhard of Biesterfeld
1916 – 7 January 1937: His Serene Highness Prince Bernhard of Lippe-Biesterfeld
7 January 1937 – 6 September 1948: His Royal Highness Prince Bernhard of the Netherlands, Prince of Lippe-Biesterfeld
6 September 1948 – 30 April 1980: His Royal Highness The Prince of the Netherlands
30 April 1980 – 1 December 2004: His Royal Highness Prince Bernhard of the Netherlands, Prince of Lippe-Biesterfeld
Honours
National honours
Knight Commander of the Military William Order
Knight Grand Cross of the Order of the Netherlands Lion
Knight Grand Cross of the Order of Orange-Nassau
Grand Master Knight Commander of the Order of the Golden Ark, 1st Class
Knight Commander of the Order of St. John in the Netherlands
Recipient of the Airman's Cross
Recipient of the Queen Juliana Inauguration Medal
Foreign honours
: Grand Cross of the Order of the Liberator General San Martín
: Grand Star Decoration for Services to the Republic of Austria, Gold
: Knight Grand Cross of the Order of Leopold I
: Recipient of the War Cross Medal 1939–1945
: Grand Cross of the Order of the Southern Cross
: Grand Cross of the Order of Valour
: Grand Cross of the Order of the White Lion
: Recipient of the Czechoslovak War Cross 1939–1945
: Grand Cross of the Order of Merit
: Grand Cross of the Order of Boyaca, Special Class
: Knight of the Order of the Elephant
: Grand Cross of the Order of Merit of Duarte, Sánchez and Mella, Silver
: Grand Cross of the Order of Abdon Calderón
Ethiopian Imperial Family: Knight Grand Cordon with Collar of the Order of the Queen of Sheba
: Grand Cross of the Order of the White Rose of Finland
: Grand Cross of the Order of the Legion of Honour
: Commander of the Order of Academic Palms
: Recipient of the Aeronautical Medal
: Grand Cross of the Order of Merit of the Federal Republic of Germany, Special Issue
Greece
Greek Royal Family: Knight Grand Cross of the Order of George I
: Recipient of the 1940 War Cross Medal
: Grand Cross of the Order of Santa Rosa and of Civilisation
: Adipurna Grand Cross of the Order of the star of Mahaputera
Iranian Imperial Family: Knight Grand Cordon of the Order of the Lion and the Sun
Iranian Imperial Family: Recipient of the Commemorative Medal of the 2,500 year Celebration of the Persian Empire
: Grand Cross of the Order of Merit of the Italian Republic
: Grand Cross of the National Order of the Ivory Coast
: Knight Grand Cordon of the Order of the Rising Sun
: Grand Cross of the Order of the Pioneers of Liberia
: Knight Grand Cross of the Order of the Gold Lion of the House of Nassau
: Recipient of the War Cross Medal 1939–1945
: Grand Cross of the Order of the Aztec Eagle, Special Class
Nepal: Member Grand Cross of the Order of Ojaswi Rajanya
: Grand Cross of the Order of Rubén Darío, Special Class
: Knight Grand Cross of the Order of Saint Olav
: Grand Cross of the Order of Manuel Amador Guerrero
: Grand Cross of the Order of Merit, Special Class
: Grand Cross of the Order of the Sun of Peru
: Grand Cross of the Order of Military Virtue
: Grand Cross of the National Order of Merit
: Bailiff Knight Grand Cross of Honour and Devotion of the Sovereign Military Order of Malta
: Knight Grand Cross of the Order of Charles III
: Grand Cross of the Honorary Order of the Yellow Star
: Knight Grand Cross of the Royal Order of the Seraphim
: Knight Grand Cordon with Chain of the Order of the Royal House of Chakri
: Grand Cross of the Order of Independence
: Honorary Knight Grand Cross of the Order of the Bath
: Honorary Knight Grand Cross of the Royal Victorian Order
: Recipient of the France and Germany Star
: Recipient of the Defence Medal
: Recipient of the King George VI Coronation Medal
: Recipient of the Queen Elizabeth II Coronation Medal
: Officer of the Legion of Merit
: Grand Cross of the Order of the Liberator
: Grand Cross of the Order of Karađorđe's Star
Military ranks
Military ranks of the Armed forces of the Netherlands
Honorary military ranks of foreign armed forces
Ancestry
References
External links
1911 births
2004 deaths
20th-century Calvinist and Reformed Christians
Aide-de-camp to the Monarch of the Netherlands
Burials in the Royal Crypt at Nieuwe Kerk, Delft
Chairmen of the Steering Committee of the Bilderberg Group
Commanders-in-chief of the Armed Forces of the Netherlands
Converts to Calvinism from Lutheranism
Counts of Lippe
Counts of Lippe-Biesterfeld
Deaths from cancer in the Netherlands
Deaths from lung cancer
Deaths from stomach cancer
Dutch animal rights activists
Dutch conservationists
Dutch lobbyists
Dutch members of the Dutch Reformed Church
Dutch nonprofit directors
Dutch nonprofit executives
Dutch people of German descent
Dutch royal consorts
Engelandvaarders
German Calvinist and Reformed Christians
German Lutherans
German royalty
Grand Cordons of the Honorary Order of the Yellow Star
Grand Cordons of the Order of the Rising Sun
Grand Croix of the Légion d'honneur
Grand Crosses Special Class of the Order of Merit of the Federal Republic of Germany
Grand Crosses of the Order of George I
Grand Crosses of the Order of the Sun of Peru
Grand Crosses of the Order of the White Lion
Honorary air commodores
Honorary Knights Grand Cross of the Order of the Bath
Honorary Knights Grand Cross of the Royal Victorian Order
House of Lippe
House of Orange-Nassau
Humboldt University of Berlin alumni
Inspectors general
Knights Commander of the Military Order of William
Knights Grand Cross of the Order of Merit of the Italian Republic
Knights Grand Cross of the Order of Orange-Nassau
Knights of the Order of Saint John in the Netherlands
Knights of the Order of the Netherlands Lion
Lockheed bribery scandals
Members of the Council of State (Netherlands)
Members of the Steering Committee of the Bilderberg Group
National Socialist Motor Corps members
Military personnel from Jena
People from Saxe-Weimar-Eisenach
Political controversies in the Netherlands
Princes of Lippe
Princes of Lippe-Biesterfeld
Protestant Church Christians from the Netherlands
Recipients of the Airman's Cross
Recipients of the Czechoslovak War Cross
Recipients of the Order of Orange-Nassau
Royal Air Force air marshals
Royal Air Force personnel of World War II
Royal Australian Air Force officers
Royal Netherlands Air Force generals
Royal Netherlands Air Force personnel of World War II
Royal Netherlands Air Force pilots
Royal Netherlands Army generals
Royal Netherlands Army personnel of World War II
Royal Netherlands East Indies Army generals
Royal Netherlands East Indies Army officers
Royal Netherlands East Indies Army personnel of World War II
Royal Netherlands Navy admirals
Royal Netherlands Navy personnel of World War II
University of Lausanne alumni
World Wide Fund for Nature
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"This article contains a list of child bridegrooms or child husbands wherein notable or historically significant examples have been singled out.\n\nList\n\nAntiquity \n Tutankhamun was married before the age of nine years to his half-sister Ankhesenamun (aged about 16).\n\n8th century \n The future Emperor Shōmu (aged about 16) was married to in Asukabe-hime (aged 16) .\n\n10th century \n The future Otto II, Holy Roman Emperor (aged 16/17), was married to Theophanu (aged about 17) in 972.\n\n The future Louis V of France (aged about 15) was married to the twice-widowed Adelaide-Blanche of Anjou (aged 40) in 982.\n\n The future Emperor Ichijō (aged 10) was married to Fujiwara no Teishi (about 12/13) in October 990.\n\n11th century \n Fujiwara no Shōshi (aged about 12) was married to the future Emperor Ichijō (aged 19/20) in 1000.\n\n The future Emperor Go-Ichijō (aged 10) married his aunt Fujiwara no Ishi (aged 19) in 1018.\n\n The future Emperor Horikawa (aged 14) was married to his paternal aunt Princess Tokushi (aged about 33) in 1093.\n\n12th century \n Pons, Count of Tripoli (aged 13/14), was married to Cecile of France (aged 14/15) in 1112.\n\n William Adelin (aged 15), son and heir of Henry I of England, was married to Matilda of Anjou (aged about 13) in 1119.\n\n Louis VII of France (aged 17) married Eleanor of Aquitaine (aged about 15) in 1137; their marriage was annulled in 1152.\n\n Eustace IV, Count of Boulogne (aged about 12/13), was married to Constance of France (aged about 15/16) in 1140.\n\n Philip I, Count of Flanders (aged 15/16), was married to Elisabeth of Vermandois (aged 16) in 1159.\n\n The future Emperor Nijō (aged 15) was married to his paternal aunt Princess Yoshiko (aged 17) in March 1159.\n\n Alfonso VIII of Castile (aged 14/15) married Eleanor of England in 1170, when she was about 9-years-old.\n\n Henry the Young King (aged 17) was married to Margaret of France (aged 13/14) in 1172. They had been betrothed since 1160, when Henry was 5 and Margaret was about 2.\n\n Canute VI of Denmark (aged about 13/14) was married to Gertrude of Bavaria (aged 22 or 25) in 1177. They had been engaged since 1171, since he was about 7/8 and she was about 16 or 19.\n\n Henry I, Duke of Brabant (aged about 14), was married to Matilda of Boulogne (aged 9) in 1179.\n\n Alexios II Komnenos was 10 when he is reported to have married Agnes of France (aged 9) in 1180.\n\n Philip II of France (aged 14) married Isabella of Hainault (aged 10) in 1180.\n\n Humphrey IV of Toron (aged about 17) married Isabella of Jerusalem (aged 10/11) in 1183. They had been betrothed when Humphrey was about 14/15 and Isabella was 8-years-old.\n\n Conrad II, Duke of Swabia (aged 13/14), married Berengaria of Castile in 1187, when she was about 8-years-old. The marriage was never consummated due to Berengaria's young age.\n\n William IV, Count of Ponthieu (aged 15/16), was married to Alys of France, Countess of Vexin (aged 34), in 1195.\n\n13th century \n Henry VI, Count Palatine of the Rhine (aged about 16), was married to Matilda of Brabant (aged about 12) in 1212.\n\n Henry I of Castile married his cousin Mafalda of Portugal (aged about 20) in 1215, when he was either 10- or 11-years-old. The marriage was never consummated due to Henry's young age; and the marriage was annulled by the Pope in 1216 on the grounds of consanguinity. Later that year, Henry was betrothed to his second cousin Sancha, heiress of León, but he died in 1217 at the age of 13.\n\n Baldwin II of Constantinople (aged about 17) was married to Marie of Brienne (aged about 10) in 1234.\n\n Alexander III of Scotland (aged 10) was married to Margaret of England (aged 11) in December 1251.\n\n Edward I of England (aged 15) was married to Eleanor of Castile (aged 13) in 1254.\n\n The future Philip III of France (aged 17) was married to Isabella of Aragon (aged 13/14) in May 1262. They had been betrothed since May 1258, when he was 13 and she was 9/10.\n\n John I, Duke of Brabant (17/18), was married to Margaret of France (aged 15/16) in 1270.\n\n The future Ladislaus IV of Hungary (aged 7/8) was married to Elizabeth of Sicily (aged 8/9) in 1270.\n\n Philip of Sicily (aged about 15/16) was married to Isabella of Villehardouin (aged either 8 or 11) in May 1271.\n\n The future Philip IV of France (aged 16) was married to Joan I of Navarre (aged 11) in August 1285.\n\n Wenceslaus II of Bohemia (aged 13) was married to Judith of Habsburg (aged 13) in January 1285.\n\n John II, Duke of Brabant (aged 14), was married to Margaret of England (aged 15) in 1290. John and Margaret had been betrothed since they were 2 and 3, respectively.\n\n Henry, Count of Luxembourg (aged about 13/14), was married to Margaret of Brabant (aged 15) in July 1292.\n\n John I, Count of Holland (aged 12/13), was married to Elizabeth of Rhuddlan (aged 14) in 1297.\n\n14th century \n Roger Mortimer, 1st Earl of March (aged 14), was married to Joan de Geneville (aged 15) in 1301.\n\n The future Gaston I, Count of Foix (aged 13/14), was married to Joan of Artois (aged 11/12) in 1301.\n\n The future Louis X of France (aged 15) was married to Margaret of Burgundy (aged about 15) in 1305.\n\n Philip V of France (aged about 13/14) was married to Joan of Burgundy (aged 14/15) in 1307.\n\n The future Charles IV of France (aged 13) was married to Blanche of Burgundy (aged about 11/12) in January 1308.\n\n John of Luxembourg (aged 14) was married to Elizabeth of Bohemia (aged 18) in September 1310.\n\n John III, Duke of Brabant (aged 10/11), was married to Marie of Évreux (aged 7/8) in 1311.\n\n Edmund Mortimer (aged about 13/14, possibly younger) was married to Elizabeth de Badlesmere (aged 3) in 1316.\n\n Thomas Beauchamp (aged about 6) was married to Katherine Mortimer (aged about 5) in 1319.\n\n Louis I, Count of Flanders (aged about 15/16), was married to Margaret of France (aged 9/10) in 1320.\n\n Guigues VIII of Viennois (aged 13/14) was married to Isabella of France (aged 10/11) in 1323.\n\n Alfonso XI of Castile (aged 13/14) was married to Constanza Manuel of Villena (aged at most 10) in 1325. He had the marriage annulled two years later, and in 1328, at the age of 16/17, married his double first cousin Maria of Portugal (aged 14/15).\n \n Edward III of England (aged 15) was married to Philippa of Hainault (between the ages of 12 and 17) in 1327.\n\n The future David II of Scotland (aged 4) was married to Joan of the Tower (aged 7) in 1328.\n\n Laurence Hastings, 1st Earl of Pembroke (aged about 9/10), was married to Agnes Mortimer (aged about 11/12) in 1328 or 1329. Laurence was a ward of Agnes's father, Roger Mortimer, 1st Earl of March.\n\n Charles IV, King of Bohemia (aged about 12/13; later Holy Roman Emperor), was married to Blanche of Valois (aged about 12/13) in 1329.\n\n Reginald II, Duke of Guelders (aged about 16), was married to Sophia Berthout in 1311. After Sophia's death in 1329, he married Eleanor of Woodstock (aged 13) in 1332, when he was about 37-years-old.\n\n John, Duke of Normandy (aged 13), was married to Bonne of Luxembourg (aged 17) in July 1332.\n\n Andrew of Hungary (aged 6) was married to the future Joanna I of Naples (aged about 6/7) in 1333.\n\n William IV, Count of Holland (aged 10/11), was married to Joanna of Brabant (aged 11/12) in 1334.\n\n Marie de Namur (aged about 13/14) was married to Henry II, Graf of Vianden, in 1335/36. Henry was murdered in 1337; about three years later, in 1340, Marie (now about 17/18) was married to Theobald of Bar, Seigneur de Pierrepont (aged about 25/26), her second cousin, once removed.\n\n Philip of Burgundy (aged about 14/15) was married to Joan I, Countess of Auvergne (aged about 11/12), circa 1338.\n\n William Montagu (aged 12) was married to Joan of Kent (aged 13) in either late 1340 or early 1341. In 1348, it was revealed that Joan had secretly married Thomas Holland, 1st Earl of Kent, in 1340; and, as a result, Montagu's marriage to Joan was annulled.\n\n Gaston III, Count of Foix (aged 16/17), was married to Agnes of Navarre (aged 13/14) in 1348.\n\n Charles V of France (aged 12) was married Joanna of Bourbon (aged 12) to in April 1350.\n\n Thomas de Vere, 8th Earl of Oxford (aged about 15), was married to Maud de Ufford (born 1345/46) sometime before 10 June 1350, when Maud was about 5-years-old.\n\n Lionel of Antwerp, 1st Duke of Clarence (aged 13/14), was married to Elizabeth de Burgh, 4th Countess of Ulster (aged 20), in 1352.\n\n Philip I, Duke of Burgundy (aged 10/11), was married to the future Margaret III, Countess of Flanders (aged 6/7), in 1357.\n\n Richard Fitzalan (aged 12/13) was married to Elizabeth de Bohun (aged about 9) in 1359.\n\n John Hastings, 2nd Earl of Pembroke (aged 11), was married to Margaret of England (aged 12), daughter of Henry III of England, in 1359.\n\n Gian Galeazzo Visconti (aged 8) was married to Isabella of Valois (aged 11/12) in October 1360, about a week before Gian's 9th birthday.\n\n Albert III, Duke of Austria (aged 16/17), was married to Elisabeth of Bohemia (aged 7/8) in 1366.\n\n Edmund Mortimer, 3rd Earl of March (aged 15/16), was married to Philippa of Clarence (aged 12/13) in 1368.\n\n The future Charles III of Navarre (aged 13/14) was married to Eleanor of Castile (aged about 12) in May 1375.\n\n John V, Lord of Arkel (aged 14), was married to Joanna of Jülich in October 1376.\n\n John Hastings, 3rd Earl of Pembroke (aged 8), was married to Elizabeth of Lancaster (aged 17) in 1380. The marriage remained unconsummated due to John's age, and was annulled after Elizabeth became pregnant by John Holland, 1st Duke of Exeter, whom she later married.\n\n Henry Bolingbroke (aged 13; later King Henry IV of England) was married to Mary de Bohun (aged about 10/11) in 1380.\n\n Richard II of England (aged 15) was married to Anne of Bohemia (aged 15) in January 1382.\n\n John, Count of Nevers (aged 14) was married to Margaret of Bavaria (aged 21/22) in April 1385.\n\n The future John V, Duke of Brittany (aged 6/7), was married to Joan of France (aged 4/5) in 1396.\n\n John of Perche (aged 10/11) was married to Marie of Brittany (aged 5) in July 1396.\n\n15th century \n Louis, Duke of Guyenne (aged 7), married Margaret of Nevers (aged 10) in August 1404.\nCharles, Duke of Orléans (aged 11), married his cousin Isabella of Valois (aged 16) in June 1406.\n\n Philip the Good (aged 12) was married to Michelle of Valois (aged 14) in June 1409.\n\n John, Duke of Touraine (aged 16), was married to Jacqueline of Hainaut (aged 14) in 1415.\n\n John IV, Duke of Brabant (aged 14), was married to Jacqueline of Hainaut (aged 16) in March 1418, following her first husband's death the year before.\n\n John II, Duke of Alençon (aged 15), married Joan of Valois (aged 15), daughter of Charles, Duke of Orléans, in 1424.\n\n Louis, Dauphin of France (aged 12), was married to Margaret Stewart (aged 11), daughter of James I of Scotland, in June 1436. The wedding took place a little over a week before Louis's thirteenth birthday.\n\n Henry IV of Castile (aged 14/15) was married to his cousin Blanche of Navarre (aged 15/16) in 1440.\n\n Afonso V of Portugal (aged 15) was married to Isabel of Coimbra (aged 15) in May 1447.\n\n John de la Pole (age 7) was married to Margaret Beaufort, (age 7; approximately) in 1450 by the arrangement John's father. The marriage was annulled in 1453.\n\n Ferdinand II of Aragon (aged 17) was married to his second cousin Infanta Isabella of Castile (aged 18; later Isabella I of Castile) in 1469. They became the parents of Catherine of Aragon.\n\n John, Prince of Portugal (aged 14) was married to his first cousin Eleanor of Viseu (aged 11) in January 1470.\n\n Louis, Duke of Orléans (aged 14) was married to his cousin Joan of France, Duchess of Berry (age 12), in 1476.\n\n Richard of Shrewsbury, 1st Duke of York (age 4), was married to Anne de Mowbray, 8th Countess of Norfolk (age 6), in 1477. She died at age 10 and he, as one of the Princes in the Tower, is believed to have been murdered at age 10.\n\n Afonso, Prince of Portugal (aged about 15), was married by proxy to Isabella of Aragon (aged 19) in the spring of 1490.\n\n16th century \n Arthur, Prince of Wales (aged 15), was married to Catherine of Aragon (aged 15) in 1501. He died a few months later and she eventually married his younger brother, Henry VIII of England.\n\n Charles, Count of Montpensier (aged 15), was married to Suzanne, Duchess of Bourbon (aged 14), in 1505.\n\n Henry VIII of England (aged 17), married Catherine of Aragon (aged 23) in June 1509, a couple of weeks before his 18th birthday.\n\n Claude, Duke of Guise (aged 16), was married to Antoinette de Bourbon (aged 18) in 1513.\n\n Henry, Duke of Orléans (aged 14), was married to Catherine de' Medici (aged 14) in 1533.\n\n Henry Grey, Marquess of Dorset (aged 15/16), was married to Lady Frances Brandon (aged 15/16) in 1533.\n\n Henry Clifford (aged 17/18) was married to Lady Eleanor Brandon (aged 15/16) in 1535.\n\n Ottavio Farnese, Duke of Parma (aged 14), grandson of Pope Paul III, was married to Margaret of Parma (aged 15), illegitimate daughter of Charles V, Holy Roman Emperor, in November 1538.\n\n Philip, Prince of Asturias (aged 16; later Philip II of Spain), was married to Maria Manuela, Princess of Portugal (aged 16), in 1543.\n\n João Manuel, Prince of Portugal (aged 14), was married to his double first cousin Joanna of Austria (aged 16) in 1552.\n\n Lord Guildford Dudley (aged about 17/18) was married to Lady Jane Grey (aged about 16/17) in 1553.\n\n Henry, Lord Herbert, was at most 15-years-old, was married to Lady Katherine Grey (aged 12), younger sister of Lady Jane Grey, in 1553. The marriage was annulled in 1554.\n\n Francis, Dauphin of France (aged 13/14), was married to Mary, Queen of Scots (aged 15/16), in 1558. The pair had been betrothed since Mary was five and Francis was three.\n\n Charles III, Duke of Lorraine (aged 15), was married to Claude of France (aged 11), daughter of Henry II of France, in 1559.\n\n17th century \n Alfonso, Hereditary Prince of Modena (aged 16/17), was married to Isabella of Savoy (aged 16) in 1608.\n\n César, Duke of Vendôme (aged 14), was married to Françoise de Lorraine (aged 15/16) in July 1608.\n\n Frederick V, Elector Palatine (aged 16), married Elizabeth Stuart (aged 16), eldest daughter of James VI and I and Anne of Denmark, in 1613.\n\n Louis XIII of France (aged 14) was married to his second cousin Anne of Austria (aged 14) in November 1615.\n\n The future Ferdinand Maria, Elector of Bavaria (aged 14), was married to Princess Henriette Adelaide of Savoy (aged 14) in December 1650.\n\n The future William II, Prince of Orange (aged 15), married Mary, Princess Royal (aged 9), in 1641. The marriage was reported to not have been consummated for a number of years due to the bride's age.\n\n Walter Scott of Highchester (aged 14) was married to Mary Scott, 3rd Countess of Buccleuch (aged 11), in 1659.\n\n James Crofts, 1st Duke of Monmouth (aged 14), illegitimate son of Charles II of England and his mistress Lucy Walter, was married to Anne Scott, 1st Duchess of Buccleuch (aged 12), in April 1663.\n\n Sir Edward Lee (aged 14) was married to Lady Charlotte FitzRoy (aged 13) in 1677. They had been betrothed since 1674, before Charlotte's tenth birthday.\n\n Ivan V of Russia (aged 17) was married to Praskovia Saltykova (aged 18/19) in either late 1683 or early 1684.\n\n Louis, Prince of Condé (aged 16), was married to his distant cousin Louise Françoise de Bourbon (aged 11) in 1685.\n\n Philippe, Duke of Chartres (aged 17), married his first cousin Françoise Marie de Bourbon (aged 14), legitimated daughter of Louis XIV, in February 1692.\n\n Louis, Duke of Burgundy (aged 15), was married to Marie Adélaïde of Savoy (aged 12) in December 1697.\n\n18th century \n Philip V of Spain (aged 17) was married to Maria Luisa Gabriela of Savoy (aged 12) in September 1701, five days before Maria Luisa's 13th birthday.\n\n Louis Armand II, Prince of Conti (aged 17), was married to Louise Élisabeth de Bourbon (aged 19) in July 1713.\n\n Jules, Prince of Soubise (aged 17), was married to Anne Julie de Melun (aged 15/16) in September 1714.\n\n Louis, Prince of Asturias (aged 14), was married by proxy to Louise Élisabeth d'Orléans (aged 11) in November 1721.\n\n Louis XV of France (aged 15) was married to Marie Leszczyńska (aged 22) in 1725.\n\n José, Prince of Brazil (aged 14), was married to Infanta Mariana Victoria of Spain (aged 10) in January 1729.\n\n Louis François, Prince of Conti (aged 14), was married to Louise Diane d'Orléans (aged 15) in January 1732.\n\n Gaston, Count of Marsan (aged 17), was married to Marie Louise de Rohan (aged 16) in June 1736.\n\n Ercole Rinaldo d'Este (aged 13/14) was married to Maria Teresa Cybo-Malaspina, Duchess of Massa (aged 15/16) in 1741.\n\n Louis, Dauphin of France (aged 15), was married to Infanta Maria Teresa Rafaela of Spain (aged 18) in 1744. After Maria Teresa's death in early 1746, Louis was required to remarry quickly in order to secure the succession to the French crown. Thus, he married again in February 1747, at the age of 17, to Duchess Maria Josepha of Saxony (aged 15).\n\n Peter of Holstein-Gottorp (later Peter III of Russia) was 17-years-old when he married his 16-year-old second cousin Princess Sophie of Anhalt-Zerbst (later known as Catherine the Great) in 1745.\n\n Louis Joseph, Prince of Condé (aged 16), was married to Charlotte de Rohan (aged 15) in 1753.\n\n Christian VII of Denmark (aged 17) was married to Princess Caroline Matilda of Great Britain (aged 15) in 1766.\n\n Ferdinand IV & III of Naples and Sicily (aged 17) was married by proxy to Maria Carolina of Austria (aged 15) in April 1768.\n\n Louis Henri, Duke of Enghien (aged 14), was married to Bathilde d'Orléans (aged 19) in 1770.\n\n Louis-Auguste, Dauphin of France (aged 15), was married to Archduchess Maria Antonia of Austria (aged 14; later known as Marie Antoinette) in April 1770.\n\n Louis Stanislas, Count of Provence (aged 15; the future King Louis XVIII of France), was married to Marie Joséphine of Savoy (aged 17) in 1771.\n\n Charles Philippe, Duke of Artois (aged 16; later Charles X of France), was married to Princess Maria Theresa of Savoy (aged 17) in 1773.\n\n The future Alexander I of Russia (aged 15) married Princess Louise of Baden (aged 14) in 1793.\n\n19th century\n Ferdinand, Prince of Asturias (aged 17; later Ferdinand VII of Spain), was married to his first cousin Princess Maria Antonia of Naples and Sicily (aged 17) in October 1802, about a week before his 18th birthday.\n\n Tokugawa Iemochi (aged 15) was married to Chikako, Princess Kazu (aged 15), daughter of Emperor Ninkō, in February 1862.\n\nCeremonial marriages\n\nSanele Masilela, a nine year old South African boy married 62-year-old Helen Shabangu.\nJose Griggs, at the age of seven, married nine-year-old Jayla Cooper\n\nSee also\nList of child brides\nTeen marriage\n\nReferences\n\nLists of men\nHusbands",
"Lachlan Og MacLean, 1st Laird of Torloisk was the second son of Sir Lachlan Mor Maclean and the first Laird of Torloisk.\n\nBiography\nHe was the second son of Sir Lachlan Mor Maclean, and he received from his father a charter of the lands of Lehire-Torloisk, forfeited by the son of Ailean nan Sop, which was afterward confirmed by royal grant. He was present at the Battle of Gruinnart, and was severely wounded. He was a witness to a charter given by his father to Martin MacGillivray of Pennyghael, and subscribed himself in the Irish characters, Mise Lachin Mhac Gilleoin. He was an important man in his day, and was so influential that he was compelled to make his appearance before the privy council.\n\nHe was first married to Marian, daughter of Sir Duncan Campbell of Achnabreck and had:\nHector MacLean, 2nd Laird of Torloisk\nHe was a second time married to Margaret, daughter of Captain Stewart of Dumbarton, but had no children. \nHe was a third time married to Marian, daughter of Donald MacDonald of Clanranald, and had:\nHector Maclean\nLachlan Og Maclean, who died unmarried but had a son Donald Maclean\nLachlan Catanach Maclean was killed at Inverkeithing\nEwen Maclean\nJohn Diuriach Maclean married the daughter of John Maclean, Laird of Ardgour and had Allan and several daughters\nOther children include: \nAllan Maclean who died unmarried at Harris\nNeil Maclean who married a daughter of Lochbuie, by whom he had a daughter\nLachlan, who died a lieutenant-colonel in the British service\nJannet Maclean, married Hector, first MacLean of Kinlochaline \nMary Maclean, married John Garbh, eldest son of John Dubh of Morvern \nCatherine Maclean, married John, brother to MacNeil of Barra\nJulian Maclean, married Allan MacLean, brother of Lochbuie\nIsabella Maclean, married Martin MacGillivray of Pennyghael\n\nLachlan Og lived to an advanced age, and was succeeded by his eldest son, Hector MacLean, 2nd Laird of Torloisk.\n\nReferences\n\nYear of birth missing\nYear of death missing\nLachlan Og MacLean, 1st Laird of Torloisk\nLachlan"
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"Prince Bernhard of Lippe-Biesterfeld",
"Marriage and children",
"Was he married?",
"they were married at The Hague on 7 January 1937."
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Who was he married to?
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Who was Prince Bernhard of Lippe-Biesterfeld married to?
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Prince Bernhard of Lippe-Biesterfeld
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Bernhard met then-Princess Juliana at the 1936 Winter Olympics at Garmisch-Partenkirchen. Juliana's mother, Queen Wilhelmina, had spent most of the 1930s looking for a suitable husband for Juliana. As a Protestant of royal rank (the Lippe-Biesterfelds were a sovereign house in the German Empire), Bernhard was acceptable for the devoutly religious Wilhelmina. Wilhelmina left nothing to chance, and had her lawyers draft a very detailed prenuptial agreement that specified exactly what Bernhard could and could not do. The couple's engagement was announced on 8 September 1936, and they were married at The Hague on 7 January 1937. Earlier, Bernhard had been granted Dutch citizenship, and changed the spelling of his names from German to Dutch. Previously styled as Serene Highness, he became a Royal Highness by Dutch Law. His appropriateness as consort of the future Queen would later become a matter of some public debate. Prince Bernhard was father of six children, four of them with Queen Juliana. The eldest daughter is Princess Beatrix, former Queen of the Netherlands, (1938). His other daughters with Juliana are Irene (1939), Margriet (1943) and Christina (1947). He had two illegitimate daughters. The first is Alicia von Bielefeld (born 21 June 1952), whose mother has not been identified. She is a landscape architect and lives in the United States. Prince Bernhard's sixth daughter, Alexia Grinda (a.k.a. Alexia Lejeune or Alexia Grinda-Lejeune, born in Paris on 10 July 1967), is his child by the French socialite and fashion model Helene Grinda. Although rumours about these two children had already spread, it was made official after his death. In December 2008, Dutch historian Cees Fasseur claimed that former British Conservative Cabinet Minister Jonathan Aitken was the result of a wartime affair between Prince Bernhard and Aitken's mother, previously Penelope Maffey. CANNOTANSWER
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Princess Juliana
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Prince Bernhard of Lippe-Biesterfeld (later Prince Bernhard of the Netherlands, ; 29 June 1911 – 1 December 2004) was a German-born nobleman who was the consort to Queen Juliana of the Netherlands; they were the parents of four children, including Beatrix, who was Queen of the Netherlands from 1980 to 2013.
He belonged to the princely House of Lippe and was a nephew of the Principality of Lippe's last sovereign Leopold IV. From birth he held the title Count of Biesterfeld; his uncle raised him to princely rank with the style of Serene Highness in 1916. He studied law and worked as an executive secretary at the Paris office of IG Farben. In 1937 he married Princess Juliana of the Netherlands and was immediately given the title Prince of the Netherlands with the style of Royal Highness. Upon his wife's accession to the throne in 1948, he became the prince consort of the Netherlands.
Although his private life was rather controversial, Prince Bernhard was still generally regarded as a popular figure by the majority of the Dutch for his performance as a combat pilot and his activities as a liaison officer and personal aide to Queen Wilhelmina during World War II, and for his work during post-war reconstruction. During World War II, he was part of the London-based Allied war planning councils. He saw active service as a Wing Commander (RAF), flying both fighter and bomber planes into combat. He was a Dutch general and Supreme Commander of the Dutch Armed forces, involved in negotiating the terms of surrender of the German Army in the Netherlands. For proven bravery, leadership and loyalty during his wartime efforts, he was appointed a Commander of the Military William Order, the Netherlands' oldest and highest honour. After the war he was made Honorary Air Marshal of the Royal Air Force by Queen Elizabeth II of the United Kingdom. In 1969, Bernhard was awarded the Grand Cross (Special Class) of the Order of Merit of the Federal Republic of Germany.
Bernhard helped found the World Wildlife Fund (later renamed World Wide Fund for Nature), becoming its first president in 1961. In 1970, along with Prince Philip, Duke of Edinburgh and other associates, he established the WWF's financial endowment "The 1001: A Nature Trust". In 1954, he was a co-founder of the international Bilderberg Group, which has met annually since then to discuss corporate globalisation and other issues concerning Europe and North America. He was forced to step down from both groups after being involved in the Lockheed Bribery Scandal in 1976.
Early life
Bernhard was born Bernhard Leopold Friedrich Eberhard Julius Kurt Karl Gottfried Peter, Count of Biesterfeld in Jena, Saxe-Weimar-Eisenach, German Empire on 29 June 1911, the elder son of Prince Bernhard of Lippe and his wife, Baroness Armgard von Sierstorpff-Cramm. He was a grandson of Ernest, Count of Lippe-Biesterfeld, who was regent of the Principality of Lippe until 1904. He was also a nephew of the principality's last sovereign, Leopold IV, Prince of Lippe.
Because his parents' marriage did not conform with the marriage laws of the House of Lippe, it was initially deemed morganatic, so Bernhard was granted only the title of Count of Biesterfeld at birth. He and his brother could succeed to the Lippian throne only if the entire reigning House became extinct. In 1916, his uncle Leopold IV as reigning Prince raised Bernhard and his mother to Prince and Princess of Lippe-Biesterfeld, thereby retroactively according his parents' marriage dynastic status. The suffix Biesterfeld was revived to mark the beginning of a new cadet line of the House of Lippe.
After World War I, Bernhard's family lost their German Principality and the revenue that had accompanied it. But the family was still reasonably well-off. Bernhard spent his early years at Reckenwalde castle (Wojnowo, Poland), the family's new estate in East Brandenburg, thirty kilometres east of the River Oder. He was taught privately and received his early education at home. When he was twelve, he was sent to board at the Gymnasium in Züllichau (Sulechów). Several years later he was sent to board at a Gymnasium in Berlin, from which he graduated in 1929.
Bernhard suffered from poor health as a boy. Doctors predicted that he would not live very long. This prediction might have inspired Bernhard's reckless driving and the risks that he took in the Second World War and thereafter. The prince wrecked several cars and planes in his lifetime.
Bernhard studied law at the University of Lausanne, Switzerland and in Berlin. In the latter city, he also acquired a taste for fast cars, horse riding, and big-game hunting safaris. He was nearly killed in a boating accident and an aeroplane crash. He suffered a broken neck and crushed ribs in a 160 km/h (100 mph) car crash in 1938.
While at university, Bernhard joined the Nazi Party. He also enrolled in the Sturmabteilung (SA), which he left in December 1934 when he graduated and went to work for IG Farben. The Prince later denied that he had belonged to SA, to the Reiter-SS (SS Cavalry Corps), and to the NSKK, but these are well-documented memberships. While he was not a fierce champion of democracy, the Prince was never known to hold any radical political views or express any racist sentiments, although he admitted that he briefly had sympathised with Adolf Hitler's regime.
The Prince eventually went to work for the German chemical giant IG Farben in the early 1930s, then the world's fourth-largest company. (It survives today as BASF, AGFA, and Bayer). He joined the statistics department of IG Farben's Berlin N.W. 7 department, the key Nazi overseas espionage center (known as VOWI) that evolved into the economic intelligence arm of the Wehrmacht. He lodged with Count Paul von Kotzebue (1884-1966), an exiled Russian nobleman of German descent, and his wife Allene Tew, who was born in the United States. After training, Bernhard became secretary in 1935 to the board of directors at the Paris office.
Marriage and children
Bernhard met then-Princess Juliana at the 1936 Winter Olympics at Garmisch-Partenkirchen. Juliana's mother, Queen Wilhelmina, had spent most of the 1930s looking for a suitable husband for Juliana. As a Protestant of royal rank (the Lippes were a sovereign house in the German Empire), Bernhard was deemed acceptable for the devoutly religious Wilhelmina. They were distantly related, 7th cousins in particular, both descending from Lebrecht, Prince of Anhalt-Zeitz-Hoym. Wilhelmina left nothing to chance, and had her lawyers draft a very detailed prenuptial agreement that specified exactly what Bernhard could and could not do. The couple's engagement was announced on 8 September 1936, and they were married at The Hague on 7 January 1937. Earlier, Bernhard had been granted Dutch citizenship and changed the spelling of his names from German to Dutch. Previously styled as Serene Highness, he became a Royal Highness by Dutch law. His appropriateness as consort of the future Queen would later become a matter of some public debate.
Prince Bernhard fathered six children, four of them with Queen Juliana. The eldest daughter is Beatrix, (born 1938), who later became Queen of the Netherlands. His other daughters with Juliana are Irene (born 1939), Margriet (born 1943) and Christina (1947–2019).
He had two "natural", or illegitimate, daughters. The first is Alicia von Bielefeld (born in San Francisco on 21 June 1952), whose mother has been identified as Alicia Webber, a 19 years old German national, illegitimate daughter of German aviator and test pilot Hanna Reitsch. Von Bielefeld has become a landscape architect and lives in the United States. His sixth daughter, Alexia Grinda (a.k.a. Alexia Lejeune or Alexia Grinda-Lejeune, born in Paris on 10 July 1967), is his child by Hélène Grinda, a French socialite and fashion model. Although rumours about these two children were already widespread, their status as his daughters was made official after his death. In December 2008, Dutch historian Cees Fasseur claimed that Jonathan Aitken, former British Conservative Cabinet Minister, was also a child of Prince Bernhard, the result of his wartime affair with Penelope Maffey.
Attitudes to Nazi Germany
Prince Bernhard was a member of the "Reiter-SS", a mounted unit of the SS and had joined the Nazi party before the war. He later also joined the National Socialist Motor Corps.
Various members of his family and friends were aligned with the Nazis prior to the Second World War, and a number of them attended the royal wedding. Protocol demanded that the prospective Prince-Consort be invited to an audience with his head of state, who at the time was Adolf Hitler. Hitler gave an account of the conversation he had with Bernhard in his Tischgespräche (Table Conversations). This book was a collection of monologues, remarks, and speeches Hitler gave during lunch or dinner to those he had invited.
The Prince's brother, Prince Aschwin of Lippe-Biesterfeld, was an officer in the German Army. Although the secret services on both sides were interested in this peculiar pair of brothers, no improper contacts or leaks of information were ever discovered. He cut off relations with those members of his family who were enthusiastic Nazis. As a sign of his "Dutchness", near the end of the war, he spoke only Dutch when negotiating the surrender of German forces in the Netherlands.
Second World War
At the outset of the Second World War, during the German invasion of the Netherlands, the Prince, carrying a machine gun, organised the palace guards into a combat group and shot at German warplanes. The Royal family fled the Netherlands and took refuge in England. Disagreeing with Queen Wilhelmina's decision to leave the Kingdom, the young Prince Consort, aged 28, is said at first to have refused to go and to have wanted to oppose the Nazi occupation from within the country. However, in the end, he agreed to join his wife and became head of the Royal Military Mission based in London. His wife Princess Juliana and their children continued on to Canada, where they remained until the end of the war.
In England, Prince Bernhard asked to work in British Intelligence. The War Admiralty, and later General Eisenhower's Allied Command offices, did not trust him enough to allow him access to sensitive intelligence information. On the recommendation of Bernhard's friend and admirer King George VI, however, who was also of German aristocratic descent through his mother Mary of Teck and his great-grandfather Prince Albert, and after Bernhard was personally screened by British intelligence officer Ian Fleming at the behest of Churchill, he was later given work to do in the Allied War Planning Councils.
"For Bernhard, the Prince of the Netherlands, the war was a frustrating business. Born a German, he had married Queen Wilhelmina's only child, Princess Juliana, and in due time made a conscious and meaningful transition of loyalties to his new homeland. Because of this, and in view of the doubts his background initially evoked among some Britons, he longed more than anyone for a chance to get at Holland's aggressors." Erik Hazelhoff Roelfzema aka "Soldier of Orange", decorated war hero.
On 25 June 1940, three days after France fell to the German war machine, Bernhard spoke on the Overseas Service of the BBC. He called Hitler a German tyrant and expressed his confidence that Britain would defeat the Third Reich.
In 1940, Flight Lieutenant Murray Payne gave the prince instruction in flying a Spitfire. The prince made 1,000 flight-hours in a Spitfire with the RAF's No. 322 (Dutch) Squadron RAF, wrecking two planes during landings. He remained an active pilot throughout his life and flew his last aeroplane 53 years later, with his grandson and heir to the throne, who inherited his passion for flying.
In 1941, Prince Bernhard was given the honorary rank of wing commander in the Royal Air Force. As "Wing Commander Gibbs (RAF)", Prince Bernhard flew over occupied Europe, attacking V-1 launch pads in a B-24 Liberator, bombing Pisa, and engaging submarines over the Atlantic in a B-25 Mitchell, and conducting reconnaissance over enemy-held territory in an L-5 Grasshopper. Prince Bernhard was awarded the Dutch Airman's Cross for his "ability and perseverance" (Dutch: "bekwaamheid en volharding"). In 1941 he also received a promotion to Honorary Air Commodore.
He also helped organise the Dutch resistance movement and acted as the personal secretary for Queen Wilhelmina.
Queen Wilhelmina erased the style "honorary" (the exact words were "à la suite") in the decree promoting Bernhard to General. In this unconstitutional manner, she gave this Royal Prince a status that was never intended by either Parliament or her Ministers. The Minister of Defence did not choose to correct the Monarch, and the Prince took an active and important role in the Dutch Armed forces.
By 1944, Prince Bernhard became Commander of the Dutch Armed Forces. After the liberation of the Netherlands, he returned with his family and became active in the negotiations for the German surrender. He was present during the Armistice negotiations and German surrender at Hotel de Wereld ("The World Hotel"), Wageningen in The Netherlands on 5 May 1945, where he avoided speaking German.
The Prince was a genuine war hero in the eyes of most of the Dutch; he kept cordial relations with the Communists who fought against the Nazis. In the post-war years, he earned respect for his work in helping to reinvigorate the economy of the Netherlands.
Postwar roles
After the War, the position of Inspector General was created for the Prince.
On the 4th of September 1948, his mother in law Queen Wilhelmina abdicated the throne and Juliana became Queen of the Netherlands and Bernhard became Prince Consort of the Netherlands. He was made a member of the boards of supervisors of Fokker Aircraft and KLM Royal Dutch Airlines, and within a few years he had been invited to serve as an adviser or non-executive director of numerous corporations and institutions. There have been claims that KLM helped Nazis to leave Germany for Argentina on KLM flights while Bernhard was on its board. After a 1952 trip with Queen Juliana to the United States, Prince Bernhard was heralded by the media as a business ambassador extraordinaire for the Netherlands.
With his global contacts having been approached by the secretive Polish diplomat, Józef Retinger, in May 1954 Bernhard was a key figure in organising a meeting at the Bilderberg Hotel in the Netherlands for the business elite and intellectuals of the Western World to discuss the economic problems in the face of what they characterised as the growing threat from Communism. This first meeting was successful, and it became an annual gathering known as the Bilderberg Group. The idea for the European Union, first proposed by Robert Schuman on 9 May 1950, was encouraged at Bilderberg.
Prince Bernhard was a very outspoken person who often flouted protocol by remarking upon subjects about which he felt deeply. Almost until his last day, he called for more recognition for the Polish veterans of the Second World War, who had figured greatly in the liberation of the Netherlands. But it was not until after his death that the Dutch Government publicly recognised the important role of the Polish Army in the liberation: on 31 May 2006, at the Binnenhof in The Hague, Queen Beatrix conferred the Military William Order, the highest Dutch military decoration, on the Polish 1st Independent Parachute Brigade. The award is now worn by the 6th Airborne Brigade which inherited the battle honours of the brigade.
Friendships and international connections
Prince Bernhard was seen as a jet-setting and charismatic ambassador for the Dutch during post-war reconstruction. Because of his connections, Prince Bernhard reportedly maintained friendships with several high-profile international figures. They included Nelson Mandela, David Rockefeller, Mohammad Reza Pahlavi, Ian Fleming, and Walter Bedell Smith.
Scandals and rumours
Hofmans Affair
In the mid-1950s, Queen Juliana and Prince Bernhard's marriage faced significant strain because of the ongoing influence of Greet Hofmans, a faith healer and layer-on of hands. For nine years she acted as a confidante and adviser to Queen Juliana, often residing at Palace Soestdijk. Originally, Hofmans was introduced to Queen Juliana at the initiative of Prince Bernhard in 1948 to treat an eye illness of their youngest daughter, Princess Christina (then still called Marijke). This illness arose because Juliana was infected with rubella during pregnancy. Hofmans developed a great influence on the Queen, encouraging pacifist ideas. In the period of the Cold War, this caused a crisis in the Royal Household.
While the Dutch press did not report widely on the issue, outside the Netherlands, a great deal was written about the Hofmans affair. On 13 June 1956, an article was published in the German magazine Der Spiegel, titled "Zwischen Königin und Rasputin" – "between the Queen and her Rasputin". It portrayed Hofmans in a less-than-flattering way. Later, Bernhard admitted that he had personally provided the information for the article. Observers said that, in doing so, he hoped to have Hofmans removed from the court. In the face of escalating tensions, the Prime Minister, Willem Drees appointed a committee of "three wise men" (elder statesmen) to advise the royal couple. Hofmans was banished as were various allies and supporters who had grown to prominence within the Royal Household.
In 2008 the report of the "three wise men" was made public. Historian Cees Fasseur drew from it for his book, Juliana & Bernhard (2008); in addition, the Queen had granted him access to the private royal archive. He noted that Bernhard was reprimanded in 1956 for having leaked confidential information to the international press. Fasseur said that Bernhard resorted to bringing in the international press only after repeated, desperate and often dramatic pleading with his wife to distance herself from the Hofmans group. Fasseur wrote:
"Bernard was obviously a free spirited chap, who independently went about his business. But he was still very much a family man. I got the feeling he was the only one that was seeing things were getting completely out of hand and tried to salvage the situation as much as he could."
Lockheed scandal
Scandal rocked the Royal family in 1976 when the press reported that Prince Bernhard had accepted a US$1.1 million bribe from U.S. aircraft manufacturer Lockheed Corporation to influence the Dutch government's purchase of fighter aircraft. At the time he had served on more than 300 corporate boards and committees worldwide and had been praised in the Netherlands for his efforts to promote the economic well-being of the country. Prime Minister of the Netherlands Joop den Uyl ordered an inquiry into the Lockheed affair. Prince Bernhard refused to answer reporters' questions, stating: "I am above such things".
The Dutch and international press headlined the stories for months. They also brought up records of Prince Bernhard's Reiter SS membership and details of his numerous extramarital affairs. They noted he had purchased a luxurious Paris apartment for his mistress Hélène Grinda (granddaughter of Édouard Grinda), with whom he had a daughter, Alexia, who was illegitimate. Bernhard had an older illegitimate daughter, Alicia, born in the United States (with a German pilot whom he met in Mexico in 1951).
On 26 August 1976, a full report of Prince Bernhard's activities was released to a shocked Dutch public. The Prince's own letter of 1974, to Lockheed Corporation, was publicised; he had demanded "commissions" be paid to him on Dutch government aircraft purchases. This was very damaging evidence of improper conduct by the man who was Inspector-General of the Dutch Armed Forces. Out of respect for Queen Juliana, the government did not press charges against Bernhard.
Prince Bernhard resigned as Inspector-General of the Dutch Armed Forces. He was no longer officially allowed to wear a uniform in public. But a few years later, he was in full military dress when he attended the 1979 funeral of Lord Mountbatten in London.
Prime Minister Joop den Uyl made a statement in Parliament and told the delegates that the Prince would also resign from his various high-profile positions in businesses, charities, and other institutions. The Dutch States-General voted against criminal prosecution. Prince Bernhard turned over the Presidency of the international World Wildlife Fund to Prince Philip, Duke of Edinburgh.
In an interview published after his death, on 14 December 2004, Prince Bernhard admitted that he had accepted more than one million dollars (US) in bribes from Lockheed. He acknowledged it was a mistake and claimed that all of the money went to the WWF. He said: "I have accepted that the word Lockheed will be carved on my tombstone." He also confirmed having fathered two illegitimate daughters.
In February 2008, Joop den Uyl's biography claimed that the official report investigating the Lockheed bribe scandal also presented proof that the Prince had accepted money from yet another aerospace firm: Northrop. The former Prime Minister claimed he had not made the information public to protect the Dutch monarchy.
Project Lock
In 1988, Prince Bernhard and Princess Juliana sold two paintings from their personal collection to raise money for the World Wildlife Fund. The paintings sold for GBP700,000, which was deposited in a Swiss WWF bank account. In 1989, however, Charles de Haes, Director-General of the WWF, transferred GBP500,000 back to Bernhard, for what De Haes called a private project. In 1991, newspapers reported what this private project was: Prince Bernhard had hired KAS International, owned by Special Air Service founder Sir David Stirling, to use mercenaries – mostly British – to fight poachers in nature reserves. The paramilitary group infiltrated organisations profiting from illegal trade in ivory in order to arrest them.
This Project Lock seemed to have backfired enormously, however. The hired mercenaries had not only infiltrated the illegal trade, they were also participating in it.
In 1995, Nelson Mandela called upon the Kumleben Commission to investigate, among other things, the role of the WWF in apartheid-South Africa. In the report that followed, it was suggested that mercenaries from Project Lock had planned assassinations of ANC members and that mercenaries had been running training camps in the wildlife reserves, training fighters from the anti-communist groups UNITA and Renamo. Prince Bernhard was never accused of any crime in this context but the Project Lock scandal negatively impacted the Prince's reputation.
Additional controversies and rumours
Prince Bernhard garnered media attention when, on 30 October 2002, he paid the fines of two Albert Heijn supermarket staff members, who were convicted of assaulting a shoplifter after they detained him.
The 2009 publication HRH: High Stakes at the Court of His Royal Highness by historian Harry Veenendaal and journalist Jort Kelder alleges that the Prince in 1950 attempted to oust the young government of the newly founded Republic of Indonesia and place himself to lead the Islands as Viceroy similar to Lord Mountbatten's role in British India. This was particularly contentious as in 1949 the Netherlands had already officially recognised its former colony as an independent nation.
A 2016 biography by Jolande Withuis about his wife queen Juliana, titled Juliana, posited further rumours including that he had once sexually assaulted a minor, that he had refused to divorce the queen twice, and that later on during their final years in life he prohibited Juliana from seeing him.
Death
In 1994 the Prince had a colon tumor removed and suffered severe complications due to respiratory distress. In December, his daughter Queen Beatrix rushed to the hospital straight after landing from a trip to Africa. By Christmas the prospect of death had faded and spring the next year he recovered enough to go home. His health problems continued in 1998 when he had a prostate swelling and in 1999 when he suffered difficulties breathing and talking. He did, however, attend the wedding of his grandson, straight after having prostate surgery. In 2000, his life was endangered again when he suffered neurological complications and continued breathing problems. Two days after intensive medical (and media) attention the Royal Press Office issued a statement the Prince was reading newspapers again.
Over the following years Bernhard continued to appear at the military parades on the national liberation day celebrating the defeat of Nazi Germany. Only when his wife Juliana died in March 2004 did the Prince become exceedingly fragile. Up to the last moment it remained uncertain if he could attend the royal funeral, which he eventually managed to attend. He said his final farewells to his war comrades on Liberation Day in May and in November that same year he was diagnosed with untreatable cancer.
Prince Bernhard died of lung cancer at the age of 93 at University Medical Center Utrecht in Utrecht on 1 December 2004, two years after the death of his son-in-law Prince Claus; his death suffered from malignant lung and intestinal tumors. On 11 December 2004, he was interred with a state funeral at the Nieuwe Kerk, Delft. Bernhard's funeral was different from those of Prince Claus and Queen Juliana in that Bernhard's coffin was transported on the undercarriage of a cannon instead of in the traditional carriage used when the coffins of Prince Claus and Queen Juliana were transported to Delft. Together with the playing of many military marches and the forming of guards of honour by Second World War veterans this gave the funeral procession a military character as the late Prince, a Second World War veteran, had wished. As a final tribute to his former military role in the Royal Netherlands Air Force, three modern F-16 jet fighters and a World War II Spitfire plane performed a low flypast during the funeral in a classic missing man formation.
In popular culture
In the years after Bernhard died his life story has been the inspiration for literature, theatre, television and comic books. In 2010 fact and fiction of the life of Bernhard was portrayed in a Dutch television series. In a biographical dissertation by Dutch journalist and historian Annejet van der Zijl published in March 2010, Bernhard was called "a failure" in the history of the Dutch Royal Family and a "creature of his own myths".
Titles, styles and honours
Titles
29 June 1911 – 1916: Count Bernhard of Biesterfeld
1916 – 7 January 1937: His Serene Highness Prince Bernhard of Lippe-Biesterfeld
7 January 1937 – 6 September 1948: His Royal Highness Prince Bernhard of the Netherlands, Prince of Lippe-Biesterfeld
6 September 1948 – 30 April 1980: His Royal Highness The Prince of the Netherlands
30 April 1980 – 1 December 2004: His Royal Highness Prince Bernhard of the Netherlands, Prince of Lippe-Biesterfeld
Honours
National honours
Knight Commander of the Military William Order
Knight Grand Cross of the Order of the Netherlands Lion
Knight Grand Cross of the Order of Orange-Nassau
Grand Master Knight Commander of the Order of the Golden Ark, 1st Class
Knight Commander of the Order of St. John in the Netherlands
Recipient of the Airman's Cross
Recipient of the Queen Juliana Inauguration Medal
Foreign honours
: Grand Cross of the Order of the Liberator General San Martín
: Grand Star Decoration for Services to the Republic of Austria, Gold
: Knight Grand Cross of the Order of Leopold I
: Recipient of the War Cross Medal 1939–1945
: Grand Cross of the Order of the Southern Cross
: Grand Cross of the Order of Valour
: Grand Cross of the Order of the White Lion
: Recipient of the Czechoslovak War Cross 1939–1945
: Grand Cross of the Order of Merit
: Grand Cross of the Order of Boyaca, Special Class
: Knight of the Order of the Elephant
: Grand Cross of the Order of Merit of Duarte, Sánchez and Mella, Silver
: Grand Cross of the Order of Abdon Calderón
Ethiopian Imperial Family: Knight Grand Cordon with Collar of the Order of the Queen of Sheba
: Grand Cross of the Order of the White Rose of Finland
: Grand Cross of the Order of the Legion of Honour
: Commander of the Order of Academic Palms
: Recipient of the Aeronautical Medal
: Grand Cross of the Order of Merit of the Federal Republic of Germany, Special Issue
Greece
Greek Royal Family: Knight Grand Cross of the Order of George I
: Recipient of the 1940 War Cross Medal
: Grand Cross of the Order of Santa Rosa and of Civilisation
: Adipurna Grand Cross of the Order of the star of Mahaputera
Iranian Imperial Family: Knight Grand Cordon of the Order of the Lion and the Sun
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[
"Hector MacLean, 2nd Laird of Torloisk was the second Laird of Torloisk.\n\nBiography\nHe was the son of Lachlan Og MacLean, 1st Laird of Torloisk\n\nHe was first married to Jannet, daughter of Allan Maclean of Ardtornish, by whom he had three daughters: \nMargaret Maclean of Torloisk, married to Lachlan Maclean of Lochbuie\nMarian Maclean of Torloisk, married to Hector Roy MacLean of Coll, son of John Garbh Maclean, 7th Laird of Coll\nMary Maclean of Torloisk, married to Duncan Campbell of Sandaig.\nHe was a second time married to Catherine, daughter of John Campbell of Lochnell, and had children: \nLachlan Maclean, 3rd Laird of Torloisk, who succeeded him\nHector Maclean of Torloisk, who was killed by Clan Maclachlan, a band of robbers of Fiairt, in Lesmore, who infested the neighborhood\nJohn of Tarbert who was married to Catherine, daughter of Donald Campbell of Comguish, by whom he had Donald Maclean, 5th Laird of Torloisk, John, and Marianne who married Charles MacLean of Kilunaig\nIsabella Maclean of Torloisk, married to Lauchlan Maclean, 2nd Laird of Brolas\nJannet Maclean of Torloisk, married to Hector MacLean 2nd Laird of Kinlochaline.\n\nReferences\n\nYear of birth missing\nYear of death missing\nHector\nHector",
"Hafize Sultan was daughter of Selim I and Ayşe Hafsa Sultan.\n\nBiography\nIn some sources she was called Hafsa. According to some sources, she was married to bostancıbaşı Fülân Ağa, who was executed by orders of Selim I in 1520.\nIt is often claimed in most sources that Hafize was married to Dukakinzade Mehmed Pasha, however he was married to Gevherşah Sultan, granddaughter of Bayezid II.\nShe was married again in 1522 to Çoban Mustafa Pasha, until he died in April 1629. With him she had son Kara Osman Şah(D. 1567/68).\n\nDeath\nHafize Sultan died on 10 July 1538, of unknown causes. She was buried in Mausoleum of her father.\n\nReferences\n\nOttoman Empire"
] |
[
"Prince Bernhard of Lippe-Biesterfeld",
"Marriage and children",
"Was he married?",
"they were married at The Hague on 7 January 1937.",
"Who was he married to?",
"Princess Juliana"
] |
C_6a2082aebb474143978bf0f0adc8d517_1
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Did they have any children?
| 3 |
Did Prince Bernhard of Lippe-Biesterfeld and Princess Juliana have any children?
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Prince Bernhard of Lippe-Biesterfeld
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Bernhard met then-Princess Juliana at the 1936 Winter Olympics at Garmisch-Partenkirchen. Juliana's mother, Queen Wilhelmina, had spent most of the 1930s looking for a suitable husband for Juliana. As a Protestant of royal rank (the Lippe-Biesterfelds were a sovereign house in the German Empire), Bernhard was acceptable for the devoutly religious Wilhelmina. Wilhelmina left nothing to chance, and had her lawyers draft a very detailed prenuptial agreement that specified exactly what Bernhard could and could not do. The couple's engagement was announced on 8 September 1936, and they were married at The Hague on 7 January 1937. Earlier, Bernhard had been granted Dutch citizenship, and changed the spelling of his names from German to Dutch. Previously styled as Serene Highness, he became a Royal Highness by Dutch Law. His appropriateness as consort of the future Queen would later become a matter of some public debate. Prince Bernhard was father of six children, four of them with Queen Juliana. The eldest daughter is Princess Beatrix, former Queen of the Netherlands, (1938). His other daughters with Juliana are Irene (1939), Margriet (1943) and Christina (1947). He had two illegitimate daughters. The first is Alicia von Bielefeld (born 21 June 1952), whose mother has not been identified. She is a landscape architect and lives in the United States. Prince Bernhard's sixth daughter, Alexia Grinda (a.k.a. Alexia Lejeune or Alexia Grinda-Lejeune, born in Paris on 10 July 1967), is his child by the French socialite and fashion model Helene Grinda. Although rumours about these two children had already spread, it was made official after his death. In December 2008, Dutch historian Cees Fasseur claimed that former British Conservative Cabinet Minister Jonathan Aitken was the result of a wartime affair between Prince Bernhard and Aitken's mother, previously Penelope Maffey. CANNOTANSWER
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Prince Bernhard was father of six children,
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Prince Bernhard of Lippe-Biesterfeld (later Prince Bernhard of the Netherlands, ; 29 June 1911 – 1 December 2004) was a German-born nobleman who was the consort to Queen Juliana of the Netherlands; they were the parents of four children, including Beatrix, who was Queen of the Netherlands from 1980 to 2013.
He belonged to the princely House of Lippe and was a nephew of the Principality of Lippe's last sovereign Leopold IV. From birth he held the title Count of Biesterfeld; his uncle raised him to princely rank with the style of Serene Highness in 1916. He studied law and worked as an executive secretary at the Paris office of IG Farben. In 1937 he married Princess Juliana of the Netherlands and was immediately given the title Prince of the Netherlands with the style of Royal Highness. Upon his wife's accession to the throne in 1948, he became the prince consort of the Netherlands.
Although his private life was rather controversial, Prince Bernhard was still generally regarded as a popular figure by the majority of the Dutch for his performance as a combat pilot and his activities as a liaison officer and personal aide to Queen Wilhelmina during World War II, and for his work during post-war reconstruction. During World War II, he was part of the London-based Allied war planning councils. He saw active service as a Wing Commander (RAF), flying both fighter and bomber planes into combat. He was a Dutch general and Supreme Commander of the Dutch Armed forces, involved in negotiating the terms of surrender of the German Army in the Netherlands. For proven bravery, leadership and loyalty during his wartime efforts, he was appointed a Commander of the Military William Order, the Netherlands' oldest and highest honour. After the war he was made Honorary Air Marshal of the Royal Air Force by Queen Elizabeth II of the United Kingdom. In 1969, Bernhard was awarded the Grand Cross (Special Class) of the Order of Merit of the Federal Republic of Germany.
Bernhard helped found the World Wildlife Fund (later renamed World Wide Fund for Nature), becoming its first president in 1961. In 1970, along with Prince Philip, Duke of Edinburgh and other associates, he established the WWF's financial endowment "The 1001: A Nature Trust". In 1954, he was a co-founder of the international Bilderberg Group, which has met annually since then to discuss corporate globalisation and other issues concerning Europe and North America. He was forced to step down from both groups after being involved in the Lockheed Bribery Scandal in 1976.
Early life
Bernhard was born Bernhard Leopold Friedrich Eberhard Julius Kurt Karl Gottfried Peter, Count of Biesterfeld in Jena, Saxe-Weimar-Eisenach, German Empire on 29 June 1911, the elder son of Prince Bernhard of Lippe and his wife, Baroness Armgard von Sierstorpff-Cramm. He was a grandson of Ernest, Count of Lippe-Biesterfeld, who was regent of the Principality of Lippe until 1904. He was also a nephew of the principality's last sovereign, Leopold IV, Prince of Lippe.
Because his parents' marriage did not conform with the marriage laws of the House of Lippe, it was initially deemed morganatic, so Bernhard was granted only the title of Count of Biesterfeld at birth. He and his brother could succeed to the Lippian throne only if the entire reigning House became extinct. In 1916, his uncle Leopold IV as reigning Prince raised Bernhard and his mother to Prince and Princess of Lippe-Biesterfeld, thereby retroactively according his parents' marriage dynastic status. The suffix Biesterfeld was revived to mark the beginning of a new cadet line of the House of Lippe.
After World War I, Bernhard's family lost their German Principality and the revenue that had accompanied it. But the family was still reasonably well-off. Bernhard spent his early years at Reckenwalde castle (Wojnowo, Poland), the family's new estate in East Brandenburg, thirty kilometres east of the River Oder. He was taught privately and received his early education at home. When he was twelve, he was sent to board at the Gymnasium in Züllichau (Sulechów). Several years later he was sent to board at a Gymnasium in Berlin, from which he graduated in 1929.
Bernhard suffered from poor health as a boy. Doctors predicted that he would not live very long. This prediction might have inspired Bernhard's reckless driving and the risks that he took in the Second World War and thereafter. The prince wrecked several cars and planes in his lifetime.
Bernhard studied law at the University of Lausanne, Switzerland and in Berlin. In the latter city, he also acquired a taste for fast cars, horse riding, and big-game hunting safaris. He was nearly killed in a boating accident and an aeroplane crash. He suffered a broken neck and crushed ribs in a 160 km/h (100 mph) car crash in 1938.
While at university, Bernhard joined the Nazi Party. He also enrolled in the Sturmabteilung (SA), which he left in December 1934 when he graduated and went to work for IG Farben. The Prince later denied that he had belonged to SA, to the Reiter-SS (SS Cavalry Corps), and to the NSKK, but these are well-documented memberships. While he was not a fierce champion of democracy, the Prince was never known to hold any radical political views or express any racist sentiments, although he admitted that he briefly had sympathised with Adolf Hitler's regime.
The Prince eventually went to work for the German chemical giant IG Farben in the early 1930s, then the world's fourth-largest company. (It survives today as BASF, AGFA, and Bayer). He joined the statistics department of IG Farben's Berlin N.W. 7 department, the key Nazi overseas espionage center (known as VOWI) that evolved into the economic intelligence arm of the Wehrmacht. He lodged with Count Paul von Kotzebue (1884-1966), an exiled Russian nobleman of German descent, and his wife Allene Tew, who was born in the United States. After training, Bernhard became secretary in 1935 to the board of directors at the Paris office.
Marriage and children
Bernhard met then-Princess Juliana at the 1936 Winter Olympics at Garmisch-Partenkirchen. Juliana's mother, Queen Wilhelmina, had spent most of the 1930s looking for a suitable husband for Juliana. As a Protestant of royal rank (the Lippes were a sovereign house in the German Empire), Bernhard was deemed acceptable for the devoutly religious Wilhelmina. They were distantly related, 7th cousins in particular, both descending from Lebrecht, Prince of Anhalt-Zeitz-Hoym. Wilhelmina left nothing to chance, and had her lawyers draft a very detailed prenuptial agreement that specified exactly what Bernhard could and could not do. The couple's engagement was announced on 8 September 1936, and they were married at The Hague on 7 January 1937. Earlier, Bernhard had been granted Dutch citizenship and changed the spelling of his names from German to Dutch. Previously styled as Serene Highness, he became a Royal Highness by Dutch law. His appropriateness as consort of the future Queen would later become a matter of some public debate.
Prince Bernhard fathered six children, four of them with Queen Juliana. The eldest daughter is Beatrix, (born 1938), who later became Queen of the Netherlands. His other daughters with Juliana are Irene (born 1939), Margriet (born 1943) and Christina (1947–2019).
He had two "natural", or illegitimate, daughters. The first is Alicia von Bielefeld (born in San Francisco on 21 June 1952), whose mother has been identified as Alicia Webber, a 19 years old German national, illegitimate daughter of German aviator and test pilot Hanna Reitsch. Von Bielefeld has become a landscape architect and lives in the United States. His sixth daughter, Alexia Grinda (a.k.a. Alexia Lejeune or Alexia Grinda-Lejeune, born in Paris on 10 July 1967), is his child by Hélène Grinda, a French socialite and fashion model. Although rumours about these two children were already widespread, their status as his daughters was made official after his death. In December 2008, Dutch historian Cees Fasseur claimed that Jonathan Aitken, former British Conservative Cabinet Minister, was also a child of Prince Bernhard, the result of his wartime affair with Penelope Maffey.
Attitudes to Nazi Germany
Prince Bernhard was a member of the "Reiter-SS", a mounted unit of the SS and had joined the Nazi party before the war. He later also joined the National Socialist Motor Corps.
Various members of his family and friends were aligned with the Nazis prior to the Second World War, and a number of them attended the royal wedding. Protocol demanded that the prospective Prince-Consort be invited to an audience with his head of state, who at the time was Adolf Hitler. Hitler gave an account of the conversation he had with Bernhard in his Tischgespräche (Table Conversations). This book was a collection of monologues, remarks, and speeches Hitler gave during lunch or dinner to those he had invited.
The Prince's brother, Prince Aschwin of Lippe-Biesterfeld, was an officer in the German Army. Although the secret services on both sides were interested in this peculiar pair of brothers, no improper contacts or leaks of information were ever discovered. He cut off relations with those members of his family who were enthusiastic Nazis. As a sign of his "Dutchness", near the end of the war, he spoke only Dutch when negotiating the surrender of German forces in the Netherlands.
Second World War
At the outset of the Second World War, during the German invasion of the Netherlands, the Prince, carrying a machine gun, organised the palace guards into a combat group and shot at German warplanes. The Royal family fled the Netherlands and took refuge in England. Disagreeing with Queen Wilhelmina's decision to leave the Kingdom, the young Prince Consort, aged 28, is said at first to have refused to go and to have wanted to oppose the Nazi occupation from within the country. However, in the end, he agreed to join his wife and became head of the Royal Military Mission based in London. His wife Princess Juliana and their children continued on to Canada, where they remained until the end of the war.
In England, Prince Bernhard asked to work in British Intelligence. The War Admiralty, and later General Eisenhower's Allied Command offices, did not trust him enough to allow him access to sensitive intelligence information. On the recommendation of Bernhard's friend and admirer King George VI, however, who was also of German aristocratic descent through his mother Mary of Teck and his great-grandfather Prince Albert, and after Bernhard was personally screened by British intelligence officer Ian Fleming at the behest of Churchill, he was later given work to do in the Allied War Planning Councils.
"For Bernhard, the Prince of the Netherlands, the war was a frustrating business. Born a German, he had married Queen Wilhelmina's only child, Princess Juliana, and in due time made a conscious and meaningful transition of loyalties to his new homeland. Because of this, and in view of the doubts his background initially evoked among some Britons, he longed more than anyone for a chance to get at Holland's aggressors." Erik Hazelhoff Roelfzema aka "Soldier of Orange", decorated war hero.
On 25 June 1940, three days after France fell to the German war machine, Bernhard spoke on the Overseas Service of the BBC. He called Hitler a German tyrant and expressed his confidence that Britain would defeat the Third Reich.
In 1940, Flight Lieutenant Murray Payne gave the prince instruction in flying a Spitfire. The prince made 1,000 flight-hours in a Spitfire with the RAF's No. 322 (Dutch) Squadron RAF, wrecking two planes during landings. He remained an active pilot throughout his life and flew his last aeroplane 53 years later, with his grandson and heir to the throne, who inherited his passion for flying.
In 1941, Prince Bernhard was given the honorary rank of wing commander in the Royal Air Force. As "Wing Commander Gibbs (RAF)", Prince Bernhard flew over occupied Europe, attacking V-1 launch pads in a B-24 Liberator, bombing Pisa, and engaging submarines over the Atlantic in a B-25 Mitchell, and conducting reconnaissance over enemy-held territory in an L-5 Grasshopper. Prince Bernhard was awarded the Dutch Airman's Cross for his "ability and perseverance" (Dutch: "bekwaamheid en volharding"). In 1941 he also received a promotion to Honorary Air Commodore.
He also helped organise the Dutch resistance movement and acted as the personal secretary for Queen Wilhelmina.
Queen Wilhelmina erased the style "honorary" (the exact words were "à la suite") in the decree promoting Bernhard to General. In this unconstitutional manner, she gave this Royal Prince a status that was never intended by either Parliament or her Ministers. The Minister of Defence did not choose to correct the Monarch, and the Prince took an active and important role in the Dutch Armed forces.
By 1944, Prince Bernhard became Commander of the Dutch Armed Forces. After the liberation of the Netherlands, he returned with his family and became active in the negotiations for the German surrender. He was present during the Armistice negotiations and German surrender at Hotel de Wereld ("The World Hotel"), Wageningen in The Netherlands on 5 May 1945, where he avoided speaking German.
The Prince was a genuine war hero in the eyes of most of the Dutch; he kept cordial relations with the Communists who fought against the Nazis. In the post-war years, he earned respect for his work in helping to reinvigorate the economy of the Netherlands.
Postwar roles
After the War, the position of Inspector General was created for the Prince.
On the 4th of September 1948, his mother in law Queen Wilhelmina abdicated the throne and Juliana became Queen of the Netherlands and Bernhard became Prince Consort of the Netherlands. He was made a member of the boards of supervisors of Fokker Aircraft and KLM Royal Dutch Airlines, and within a few years he had been invited to serve as an adviser or non-executive director of numerous corporations and institutions. There have been claims that KLM helped Nazis to leave Germany for Argentina on KLM flights while Bernhard was on its board. After a 1952 trip with Queen Juliana to the United States, Prince Bernhard was heralded by the media as a business ambassador extraordinaire for the Netherlands.
With his global contacts having been approached by the secretive Polish diplomat, Józef Retinger, in May 1954 Bernhard was a key figure in organising a meeting at the Bilderberg Hotel in the Netherlands for the business elite and intellectuals of the Western World to discuss the economic problems in the face of what they characterised as the growing threat from Communism. This first meeting was successful, and it became an annual gathering known as the Bilderberg Group. The idea for the European Union, first proposed by Robert Schuman on 9 May 1950, was encouraged at Bilderberg.
Prince Bernhard was a very outspoken person who often flouted protocol by remarking upon subjects about which he felt deeply. Almost until his last day, he called for more recognition for the Polish veterans of the Second World War, who had figured greatly in the liberation of the Netherlands. But it was not until after his death that the Dutch Government publicly recognised the important role of the Polish Army in the liberation: on 31 May 2006, at the Binnenhof in The Hague, Queen Beatrix conferred the Military William Order, the highest Dutch military decoration, on the Polish 1st Independent Parachute Brigade. The award is now worn by the 6th Airborne Brigade which inherited the battle honours of the brigade.
Friendships and international connections
Prince Bernhard was seen as a jet-setting and charismatic ambassador for the Dutch during post-war reconstruction. Because of his connections, Prince Bernhard reportedly maintained friendships with several high-profile international figures. They included Nelson Mandela, David Rockefeller, Mohammad Reza Pahlavi, Ian Fleming, and Walter Bedell Smith.
Scandals and rumours
Hofmans Affair
In the mid-1950s, Queen Juliana and Prince Bernhard's marriage faced significant strain because of the ongoing influence of Greet Hofmans, a faith healer and layer-on of hands. For nine years she acted as a confidante and adviser to Queen Juliana, often residing at Palace Soestdijk. Originally, Hofmans was introduced to Queen Juliana at the initiative of Prince Bernhard in 1948 to treat an eye illness of their youngest daughter, Princess Christina (then still called Marijke). This illness arose because Juliana was infected with rubella during pregnancy. Hofmans developed a great influence on the Queen, encouraging pacifist ideas. In the period of the Cold War, this caused a crisis in the Royal Household.
While the Dutch press did not report widely on the issue, outside the Netherlands, a great deal was written about the Hofmans affair. On 13 June 1956, an article was published in the German magazine Der Spiegel, titled "Zwischen Königin und Rasputin" – "between the Queen and her Rasputin". It portrayed Hofmans in a less-than-flattering way. Later, Bernhard admitted that he had personally provided the information for the article. Observers said that, in doing so, he hoped to have Hofmans removed from the court. In the face of escalating tensions, the Prime Minister, Willem Drees appointed a committee of "three wise men" (elder statesmen) to advise the royal couple. Hofmans was banished as were various allies and supporters who had grown to prominence within the Royal Household.
In 2008 the report of the "three wise men" was made public. Historian Cees Fasseur drew from it for his book, Juliana & Bernhard (2008); in addition, the Queen had granted him access to the private royal archive. He noted that Bernhard was reprimanded in 1956 for having leaked confidential information to the international press. Fasseur said that Bernhard resorted to bringing in the international press only after repeated, desperate and often dramatic pleading with his wife to distance herself from the Hofmans group. Fasseur wrote:
"Bernard was obviously a free spirited chap, who independently went about his business. But he was still very much a family man. I got the feeling he was the only one that was seeing things were getting completely out of hand and tried to salvage the situation as much as he could."
Lockheed scandal
Scandal rocked the Royal family in 1976 when the press reported that Prince Bernhard had accepted a US$1.1 million bribe from U.S. aircraft manufacturer Lockheed Corporation to influence the Dutch government's purchase of fighter aircraft. At the time he had served on more than 300 corporate boards and committees worldwide and had been praised in the Netherlands for his efforts to promote the economic well-being of the country. Prime Minister of the Netherlands Joop den Uyl ordered an inquiry into the Lockheed affair. Prince Bernhard refused to answer reporters' questions, stating: "I am above such things".
The Dutch and international press headlined the stories for months. They also brought up records of Prince Bernhard's Reiter SS membership and details of his numerous extramarital affairs. They noted he had purchased a luxurious Paris apartment for his mistress Hélène Grinda (granddaughter of Édouard Grinda), with whom he had a daughter, Alexia, who was illegitimate. Bernhard had an older illegitimate daughter, Alicia, born in the United States (with a German pilot whom he met in Mexico in 1951).
On 26 August 1976, a full report of Prince Bernhard's activities was released to a shocked Dutch public. The Prince's own letter of 1974, to Lockheed Corporation, was publicised; he had demanded "commissions" be paid to him on Dutch government aircraft purchases. This was very damaging evidence of improper conduct by the man who was Inspector-General of the Dutch Armed Forces. Out of respect for Queen Juliana, the government did not press charges against Bernhard.
Prince Bernhard resigned as Inspector-General of the Dutch Armed Forces. He was no longer officially allowed to wear a uniform in public. But a few years later, he was in full military dress when he attended the 1979 funeral of Lord Mountbatten in London.
Prime Minister Joop den Uyl made a statement in Parliament and told the delegates that the Prince would also resign from his various high-profile positions in businesses, charities, and other institutions. The Dutch States-General voted against criminal prosecution. Prince Bernhard turned over the Presidency of the international World Wildlife Fund to Prince Philip, Duke of Edinburgh.
In an interview published after his death, on 14 December 2004, Prince Bernhard admitted that he had accepted more than one million dollars (US) in bribes from Lockheed. He acknowledged it was a mistake and claimed that all of the money went to the WWF. He said: "I have accepted that the word Lockheed will be carved on my tombstone." He also confirmed having fathered two illegitimate daughters.
In February 2008, Joop den Uyl's biography claimed that the official report investigating the Lockheed bribe scandal also presented proof that the Prince had accepted money from yet another aerospace firm: Northrop. The former Prime Minister claimed he had not made the information public to protect the Dutch monarchy.
Project Lock
In 1988, Prince Bernhard and Princess Juliana sold two paintings from their personal collection to raise money for the World Wildlife Fund. The paintings sold for GBP700,000, which was deposited in a Swiss WWF bank account. In 1989, however, Charles de Haes, Director-General of the WWF, transferred GBP500,000 back to Bernhard, for what De Haes called a private project. In 1991, newspapers reported what this private project was: Prince Bernhard had hired KAS International, owned by Special Air Service founder Sir David Stirling, to use mercenaries – mostly British – to fight poachers in nature reserves. The paramilitary group infiltrated organisations profiting from illegal trade in ivory in order to arrest them.
This Project Lock seemed to have backfired enormously, however. The hired mercenaries had not only infiltrated the illegal trade, they were also participating in it.
In 1995, Nelson Mandela called upon the Kumleben Commission to investigate, among other things, the role of the WWF in apartheid-South Africa. In the report that followed, it was suggested that mercenaries from Project Lock had planned assassinations of ANC members and that mercenaries had been running training camps in the wildlife reserves, training fighters from the anti-communist groups UNITA and Renamo. Prince Bernhard was never accused of any crime in this context but the Project Lock scandal negatively impacted the Prince's reputation.
Additional controversies and rumours
Prince Bernhard garnered media attention when, on 30 October 2002, he paid the fines of two Albert Heijn supermarket staff members, who were convicted of assaulting a shoplifter after they detained him.
The 2009 publication HRH: High Stakes at the Court of His Royal Highness by historian Harry Veenendaal and journalist Jort Kelder alleges that the Prince in 1950 attempted to oust the young government of the newly founded Republic of Indonesia and place himself to lead the Islands as Viceroy similar to Lord Mountbatten's role in British India. This was particularly contentious as in 1949 the Netherlands had already officially recognised its former colony as an independent nation.
A 2016 biography by Jolande Withuis about his wife queen Juliana, titled Juliana, posited further rumours including that he had once sexually assaulted a minor, that he had refused to divorce the queen twice, and that later on during their final years in life he prohibited Juliana from seeing him.
Death
In 1994 the Prince had a colon tumor removed and suffered severe complications due to respiratory distress. In December, his daughter Queen Beatrix rushed to the hospital straight after landing from a trip to Africa. By Christmas the prospect of death had faded and spring the next year he recovered enough to go home. His health problems continued in 1998 when he had a prostate swelling and in 1999 when he suffered difficulties breathing and talking. He did, however, attend the wedding of his grandson, straight after having prostate surgery. In 2000, his life was endangered again when he suffered neurological complications and continued breathing problems. Two days after intensive medical (and media) attention the Royal Press Office issued a statement the Prince was reading newspapers again.
Over the following years Bernhard continued to appear at the military parades on the national liberation day celebrating the defeat of Nazi Germany. Only when his wife Juliana died in March 2004 did the Prince become exceedingly fragile. Up to the last moment it remained uncertain if he could attend the royal funeral, which he eventually managed to attend. He said his final farewells to his war comrades on Liberation Day in May and in November that same year he was diagnosed with untreatable cancer.
Prince Bernhard died of lung cancer at the age of 93 at University Medical Center Utrecht in Utrecht on 1 December 2004, two years after the death of his son-in-law Prince Claus; his death suffered from malignant lung and intestinal tumors. On 11 December 2004, he was interred with a state funeral at the Nieuwe Kerk, Delft. Bernhard's funeral was different from those of Prince Claus and Queen Juliana in that Bernhard's coffin was transported on the undercarriage of a cannon instead of in the traditional carriage used when the coffins of Prince Claus and Queen Juliana were transported to Delft. Together with the playing of many military marches and the forming of guards of honour by Second World War veterans this gave the funeral procession a military character as the late Prince, a Second World War veteran, had wished. As a final tribute to his former military role in the Royal Netherlands Air Force, three modern F-16 jet fighters and a World War II Spitfire plane performed a low flypast during the funeral in a classic missing man formation.
In popular culture
In the years after Bernhard died his life story has been the inspiration for literature, theatre, television and comic books. In 2010 fact and fiction of the life of Bernhard was portrayed in a Dutch television series. In a biographical dissertation by Dutch journalist and historian Annejet van der Zijl published in March 2010, Bernhard was called "a failure" in the history of the Dutch Royal Family and a "creature of his own myths".
Titles, styles and honours
Titles
29 June 1911 – 1916: Count Bernhard of Biesterfeld
1916 – 7 January 1937: His Serene Highness Prince Bernhard of Lippe-Biesterfeld
7 January 1937 – 6 September 1948: His Royal Highness Prince Bernhard of the Netherlands, Prince of Lippe-Biesterfeld
6 September 1948 – 30 April 1980: His Royal Highness The Prince of the Netherlands
30 April 1980 – 1 December 2004: His Royal Highness Prince Bernhard of the Netherlands, Prince of Lippe-Biesterfeld
Honours
National honours
Knight Commander of the Military William Order
Knight Grand Cross of the Order of the Netherlands Lion
Knight Grand Cross of the Order of Orange-Nassau
Grand Master Knight Commander of the Order of the Golden Ark, 1st Class
Knight Commander of the Order of St. John in the Netherlands
Recipient of the Airman's Cross
Recipient of the Queen Juliana Inauguration Medal
Foreign honours
: Grand Cross of the Order of the Liberator General San Martín
: Grand Star Decoration for Services to the Republic of Austria, Gold
: Knight Grand Cross of the Order of Leopold I
: Recipient of the War Cross Medal 1939–1945
: Grand Cross of the Order of the Southern Cross
: Grand Cross of the Order of Valour
: Grand Cross of the Order of the White Lion
: Recipient of the Czechoslovak War Cross 1939–1945
: Grand Cross of the Order of Merit
: Grand Cross of the Order of Boyaca, Special Class
: Knight of the Order of the Elephant
: Grand Cross of the Order of Merit of Duarte, Sánchez and Mella, Silver
: Grand Cross of the Order of Abdon Calderón
Ethiopian Imperial Family: Knight Grand Cordon with Collar of the Order of the Queen of Sheba
: Grand Cross of the Order of the White Rose of Finland
: Grand Cross of the Order of the Legion of Honour
: Commander of the Order of Academic Palms
: Recipient of the Aeronautical Medal
: Grand Cross of the Order of Merit of the Federal Republic of Germany, Special Issue
Greece
Greek Royal Family: Knight Grand Cross of the Order of George I
: Recipient of the 1940 War Cross Medal
: Grand Cross of the Order of Santa Rosa and of Civilisation
: Adipurna Grand Cross of the Order of the star of Mahaputera
Iranian Imperial Family: Knight Grand Cordon of the Order of the Lion and the Sun
Iranian Imperial Family: Recipient of the Commemorative Medal of the 2,500 year Celebration of the Persian Empire
: Grand Cross of the Order of Merit of the Italian Republic
: Grand Cross of the National Order of the Ivory Coast
: Knight Grand Cordon of the Order of the Rising Sun
: Grand Cross of the Order of the Pioneers of Liberia
: Knight Grand Cross of the Order of the Gold Lion of the House of Nassau
: Recipient of the War Cross Medal 1939–1945
: Grand Cross of the Order of the Aztec Eagle, Special Class
Nepal: Member Grand Cross of the Order of Ojaswi Rajanya
: Grand Cross of the Order of Rubén Darío, Special Class
: Knight Grand Cross of the Order of Saint Olav
: Grand Cross of the Order of Manuel Amador Guerrero
: Grand Cross of the Order of Merit, Special Class
: Grand Cross of the Order of the Sun of Peru
: Grand Cross of the Order of Military Virtue
: Grand Cross of the National Order of Merit
: Bailiff Knight Grand Cross of Honour and Devotion of the Sovereign Military Order of Malta
: Knight Grand Cross of the Order of Charles III
: Grand Cross of the Honorary Order of the Yellow Star
: Knight Grand Cross of the Royal Order of the Seraphim
: Knight Grand Cordon with Chain of the Order of the Royal House of Chakri
: Grand Cross of the Order of Independence
: Honorary Knight Grand Cross of the Order of the Bath
: Honorary Knight Grand Cross of the Royal Victorian Order
: Recipient of the France and Germany Star
: Recipient of the Defence Medal
: Recipient of the King George VI Coronation Medal
: Recipient of the Queen Elizabeth II Coronation Medal
: Officer of the Legion of Merit
: Grand Cross of the Order of the Liberator
: Grand Cross of the Order of Karađorđe's Star
Military ranks
Military ranks of the Armed forces of the Netherlands
Honorary military ranks of foreign armed forces
Ancestry
References
External links
1911 births
2004 deaths
20th-century Calvinist and Reformed Christians
Aide-de-camp to the Monarch of the Netherlands
Burials in the Royal Crypt at Nieuwe Kerk, Delft
Chairmen of the Steering Committee of the Bilderberg Group
Commanders-in-chief of the Armed Forces of the Netherlands
Converts to Calvinism from Lutheranism
Counts of Lippe
Counts of Lippe-Biesterfeld
Deaths from cancer in the Netherlands
Deaths from lung cancer
Deaths from stomach cancer
Dutch animal rights activists
Dutch conservationists
Dutch lobbyists
Dutch members of the Dutch Reformed Church
Dutch nonprofit directors
Dutch nonprofit executives
Dutch people of German descent
Dutch royal consorts
Engelandvaarders
German Calvinist and Reformed Christians
German Lutherans
German royalty
Grand Cordons of the Honorary Order of the Yellow Star
Grand Cordons of the Order of the Rising Sun
Grand Croix of the Légion d'honneur
Grand Crosses Special Class of the Order of Merit of the Federal Republic of Germany
Grand Crosses of the Order of George I
Grand Crosses of the Order of the Sun of Peru
Grand Crosses of the Order of the White Lion
Honorary air commodores
Honorary Knights Grand Cross of the Order of the Bath
Honorary Knights Grand Cross of the Royal Victorian Order
House of Lippe
House of Orange-Nassau
Humboldt University of Berlin alumni
Inspectors general
Knights Commander of the Military Order of William
Knights Grand Cross of the Order of Merit of the Italian Republic
Knights Grand Cross of the Order of Orange-Nassau
Knights of the Order of Saint John in the Netherlands
Knights of the Order of the Netherlands Lion
Lockheed bribery scandals
Members of the Council of State (Netherlands)
Members of the Steering Committee of the Bilderberg Group
National Socialist Motor Corps members
Military personnel from Jena
People from Saxe-Weimar-Eisenach
Political controversies in the Netherlands
Princes of Lippe
Princes of Lippe-Biesterfeld
Protestant Church Christians from the Netherlands
Recipients of the Airman's Cross
Recipients of the Czechoslovak War Cross
Recipients of the Order of Orange-Nassau
Royal Air Force air marshals
Royal Air Force personnel of World War II
Royal Australian Air Force officers
Royal Netherlands Air Force generals
Royal Netherlands Air Force personnel of World War II
Royal Netherlands Air Force pilots
Royal Netherlands Army generals
Royal Netherlands Army personnel of World War II
Royal Netherlands East Indies Army generals
Royal Netherlands East Indies Army officers
Royal Netherlands East Indies Army personnel of World War II
Royal Netherlands Navy admirals
Royal Netherlands Navy personnel of World War II
University of Lausanne alumni
World Wide Fund for Nature
| false |
[
"Else Hansen (Cathrine Marie Mahs Hansen) also called de Hansen (1720 – 4 September 1784), was the royal mistress of king Frederick V of Denmark. She is his most famous mistress and known in history as Madam Hansen, and was, alongside Charlotte Amalie Winge, one of only two women known to have been long term lovers of the king.\n\nLife\n\nThe background of Else Hansen does not appear to be known. Tradition claims her to be the sister of Frederick's chamber servant Henrik Vilhelm Tillisch, who in 1743 reportedly smuggled in his sister to the king at night, but modern research does not support them to be the same person.\n\nRoyal mistress\nIt is not known exactly when and how Hansen became the lover of the king. Frederick V was known for his debauched life style. According to Dorothea Biehl, the king was known to participate in orgies or 'Bacchus parties', in which he drank alcohol with his male friends while watching female prostitutes stripped naked and danced, after which the king would sometime beat them with his stick and whip them after having been intoxicated by alcohol. These women where economically compensated, but none of them seem to have had any status of a long term mistress, nor did any of the noblewomen and maids-of-honors, which according to rumors where offered to the king by their families in hope of advantages but simply married of as soon as they became pregnant without any potential relationship having been anything but a secret. The relationship between the king and Else Hansen was therefore uncommon.\n\nElse Hansen gave birth to five children with the king between 1746 and 1751, which is why the affair is presumed to have started in 1746 at the latest and ended in 1751 at the earliest. At least her three younger children where all born at the manor Ulriksholm on Funen, a manor owned by Ulrik Frederik von Heinen, brother-in-law of the de facto ruler of Denmark, the kings favorite Adam Gottlob Moltke, who likely arranged the matter. The manor was named after the royal Ulrik Christian Gyldenlove, illegitimate son of a previous king. The king's children with Hansen where baptized in the local parish church near the manor, where they were officially listed as the legitimate children of the wife of a non existent man called \"Frederick Hansen, ship writer from Gothenburg to China\". The frequent trips to Ulriksholm by Hansen as soon as her pregnancies with the king became evident was publicly noted. Neither Else Hansen nor any other of the king's mistresses where ever any official mistress introduced at the royal court, nor did they have any influence upon state affairs whatever, as politics where entrusted by the king to his favorite Moltke.\n\nIn 1752, the relationship between the king and Hansen may have ended – in any case, it was not mentioned more or resulted in any more children. She settled in the property Kejrup near Ulriksholm with her children, officially with the status of \"widow of the late sea captain de Hansen\".\n\nLater life\nAfter the death of Frederick in 1766, she acquired the estate Klarskov on Funen. She sold Klarskov and moved to Odense in 1768. In 1771, however, she bought Klarskov a second time and continued to live there until her death.\n\nHer children were not officially recognized, but unofficially they were taken care of by the royal court: her daughters were given a dowry and married to royal officials and the sons careers where protected, and her grandchildren where also provided with an allowance from the royal house.\n\nAfter Hansen, the king did not have any long term mistress until Charlotte Amalie Winge (1762–66).\n\nLegacy\nAt Frederiksborgmuseet, there are three paintings of Hansen by Jens Thrane the younger from 1764. Hansen is known by Dorothea Biehl's depiction of the decadent court life of Frederick V.\n\nIssue \nHer children were officially listed with the father \"Frederick Hansen, sea captain\".\nFrederikke Margarethe de Hansen (1747–1802)\nFrederikke Catherine de Hansen (1748–1822)\nAnna Marie de Hansen (1749–1812)\nSophie Charlotte de Hansen (1750–1779)\nUlrik Frederik de Hansen (1751–1752)\n\nSources\n Charlotte Dorothea Biehl, Interiører fra Frederik V's Hof, udgivet af Louis Bobé.\n Aage Christens, Slægten de Hansen, 1968.\n\nReferences\n\n1720 births\n1784 deaths\nMistresses of Danish royalty\n18th-century Danish people\n18th-century Danish women landowners\n18th-century Danish landowners",
"Maria Komnene (c. 1144 – 1190) was Queen of Hungary and Croatia from 1163 until 1165. Maria's father was Isaac Komnenos (son of John II).\n\nMarriage\nShe married c. 1157 to King Stephen IV of Hungary (c. 1133 – 11 April 1165). They did not have any children.\n\nSources \n Kristó Gyula - Makk Ferenc: Az Árpád-ház uralkodói (IPC Könyvek, 1996)\n Korai Magyar Történeti Lexikon (9-14. század), főszerkesztő: Kristó Gyula, szerkesztők: Engel Pál és Makk Ferenc (Akadémiai Kiadó, Budapest, 1994)\n\nHungarian queens consort\n1140s births\n1190 deaths\nMaria\n12th-century Byzantine women\n12th-century Hungarian women\n12th-century Byzantine people\n12th-century Hungarian people"
] |
[
"Prince Bernhard of Lippe-Biesterfeld",
"Marriage and children",
"Was he married?",
"they were married at The Hague on 7 January 1937.",
"Who was he married to?",
"Princess Juliana",
"Did they have any children?",
"Prince Bernhard was father of six children,"
] |
C_6a2082aebb474143978bf0f0adc8d517_1
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Did either him or Juliana have children outside of the marriage?
| 4 |
Did either Prince Bernhard of Lippe-Biesterfeld or Juliana have children outside of the marriage?
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Prince Bernhard of Lippe-Biesterfeld
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Bernhard met then-Princess Juliana at the 1936 Winter Olympics at Garmisch-Partenkirchen. Juliana's mother, Queen Wilhelmina, had spent most of the 1930s looking for a suitable husband for Juliana. As a Protestant of royal rank (the Lippe-Biesterfelds were a sovereign house in the German Empire), Bernhard was acceptable for the devoutly religious Wilhelmina. Wilhelmina left nothing to chance, and had her lawyers draft a very detailed prenuptial agreement that specified exactly what Bernhard could and could not do. The couple's engagement was announced on 8 September 1936, and they were married at The Hague on 7 January 1937. Earlier, Bernhard had been granted Dutch citizenship, and changed the spelling of his names from German to Dutch. Previously styled as Serene Highness, he became a Royal Highness by Dutch Law. His appropriateness as consort of the future Queen would later become a matter of some public debate. Prince Bernhard was father of six children, four of them with Queen Juliana. The eldest daughter is Princess Beatrix, former Queen of the Netherlands, (1938). His other daughters with Juliana are Irene (1939), Margriet (1943) and Christina (1947). He had two illegitimate daughters. The first is Alicia von Bielefeld (born 21 June 1952), whose mother has not been identified. She is a landscape architect and lives in the United States. Prince Bernhard's sixth daughter, Alexia Grinda (a.k.a. Alexia Lejeune or Alexia Grinda-Lejeune, born in Paris on 10 July 1967), is his child by the French socialite and fashion model Helene Grinda. Although rumours about these two children had already spread, it was made official after his death. In December 2008, Dutch historian Cees Fasseur claimed that former British Conservative Cabinet Minister Jonathan Aitken was the result of a wartime affair between Prince Bernhard and Aitken's mother, previously Penelope Maffey. CANNOTANSWER
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He had two illegitimate daughters.
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Prince Bernhard of Lippe-Biesterfeld (later Prince Bernhard of the Netherlands, ; 29 June 1911 – 1 December 2004) was a German-born nobleman who was the consort to Queen Juliana of the Netherlands; they were the parents of four children, including Beatrix, who was Queen of the Netherlands from 1980 to 2013.
He belonged to the princely House of Lippe and was a nephew of the Principality of Lippe's last sovereign Leopold IV. From birth he held the title Count of Biesterfeld; his uncle raised him to princely rank with the style of Serene Highness in 1916. He studied law and worked as an executive secretary at the Paris office of IG Farben. In 1937 he married Princess Juliana of the Netherlands and was immediately given the title Prince of the Netherlands with the style of Royal Highness. Upon his wife's accession to the throne in 1948, he became the prince consort of the Netherlands.
Although his private life was rather controversial, Prince Bernhard was still generally regarded as a popular figure by the majority of the Dutch for his performance as a combat pilot and his activities as a liaison officer and personal aide to Queen Wilhelmina during World War II, and for his work during post-war reconstruction. During World War II, he was part of the London-based Allied war planning councils. He saw active service as a Wing Commander (RAF), flying both fighter and bomber planes into combat. He was a Dutch general and Supreme Commander of the Dutch Armed forces, involved in negotiating the terms of surrender of the German Army in the Netherlands. For proven bravery, leadership and loyalty during his wartime efforts, he was appointed a Commander of the Military William Order, the Netherlands' oldest and highest honour. After the war he was made Honorary Air Marshal of the Royal Air Force by Queen Elizabeth II of the United Kingdom. In 1969, Bernhard was awarded the Grand Cross (Special Class) of the Order of Merit of the Federal Republic of Germany.
Bernhard helped found the World Wildlife Fund (later renamed World Wide Fund for Nature), becoming its first president in 1961. In 1970, along with Prince Philip, Duke of Edinburgh and other associates, he established the WWF's financial endowment "The 1001: A Nature Trust". In 1954, he was a co-founder of the international Bilderberg Group, which has met annually since then to discuss corporate globalisation and other issues concerning Europe and North America. He was forced to step down from both groups after being involved in the Lockheed Bribery Scandal in 1976.
Early life
Bernhard was born Bernhard Leopold Friedrich Eberhard Julius Kurt Karl Gottfried Peter, Count of Biesterfeld in Jena, Saxe-Weimar-Eisenach, German Empire on 29 June 1911, the elder son of Prince Bernhard of Lippe and his wife, Baroness Armgard von Sierstorpff-Cramm. He was a grandson of Ernest, Count of Lippe-Biesterfeld, who was regent of the Principality of Lippe until 1904. He was also a nephew of the principality's last sovereign, Leopold IV, Prince of Lippe.
Because his parents' marriage did not conform with the marriage laws of the House of Lippe, it was initially deemed morganatic, so Bernhard was granted only the title of Count of Biesterfeld at birth. He and his brother could succeed to the Lippian throne only if the entire reigning House became extinct. In 1916, his uncle Leopold IV as reigning Prince raised Bernhard and his mother to Prince and Princess of Lippe-Biesterfeld, thereby retroactively according his parents' marriage dynastic status. The suffix Biesterfeld was revived to mark the beginning of a new cadet line of the House of Lippe.
After World War I, Bernhard's family lost their German Principality and the revenue that had accompanied it. But the family was still reasonably well-off. Bernhard spent his early years at Reckenwalde castle (Wojnowo, Poland), the family's new estate in East Brandenburg, thirty kilometres east of the River Oder. He was taught privately and received his early education at home. When he was twelve, he was sent to board at the Gymnasium in Züllichau (Sulechów). Several years later he was sent to board at a Gymnasium in Berlin, from which he graduated in 1929.
Bernhard suffered from poor health as a boy. Doctors predicted that he would not live very long. This prediction might have inspired Bernhard's reckless driving and the risks that he took in the Second World War and thereafter. The prince wrecked several cars and planes in his lifetime.
Bernhard studied law at the University of Lausanne, Switzerland and in Berlin. In the latter city, he also acquired a taste for fast cars, horse riding, and big-game hunting safaris. He was nearly killed in a boating accident and an aeroplane crash. He suffered a broken neck and crushed ribs in a 160 km/h (100 mph) car crash in 1938.
While at university, Bernhard joined the Nazi Party. He also enrolled in the Sturmabteilung (SA), which he left in December 1934 when he graduated and went to work for IG Farben. The Prince later denied that he had belonged to SA, to the Reiter-SS (SS Cavalry Corps), and to the NSKK, but these are well-documented memberships. While he was not a fierce champion of democracy, the Prince was never known to hold any radical political views or express any racist sentiments, although he admitted that he briefly had sympathised with Adolf Hitler's regime.
The Prince eventually went to work for the German chemical giant IG Farben in the early 1930s, then the world's fourth-largest company. (It survives today as BASF, AGFA, and Bayer). He joined the statistics department of IG Farben's Berlin N.W. 7 department, the key Nazi overseas espionage center (known as VOWI) that evolved into the economic intelligence arm of the Wehrmacht. He lodged with Count Paul von Kotzebue (1884-1966), an exiled Russian nobleman of German descent, and his wife Allene Tew, who was born in the United States. After training, Bernhard became secretary in 1935 to the board of directors at the Paris office.
Marriage and children
Bernhard met then-Princess Juliana at the 1936 Winter Olympics at Garmisch-Partenkirchen. Juliana's mother, Queen Wilhelmina, had spent most of the 1930s looking for a suitable husband for Juliana. As a Protestant of royal rank (the Lippes were a sovereign house in the German Empire), Bernhard was deemed acceptable for the devoutly religious Wilhelmina. They were distantly related, 7th cousins in particular, both descending from Lebrecht, Prince of Anhalt-Zeitz-Hoym. Wilhelmina left nothing to chance, and had her lawyers draft a very detailed prenuptial agreement that specified exactly what Bernhard could and could not do. The couple's engagement was announced on 8 September 1936, and they were married at The Hague on 7 January 1937. Earlier, Bernhard had been granted Dutch citizenship and changed the spelling of his names from German to Dutch. Previously styled as Serene Highness, he became a Royal Highness by Dutch law. His appropriateness as consort of the future Queen would later become a matter of some public debate.
Prince Bernhard fathered six children, four of them with Queen Juliana. The eldest daughter is Beatrix, (born 1938), who later became Queen of the Netherlands. His other daughters with Juliana are Irene (born 1939), Margriet (born 1943) and Christina (1947–2019).
He had two "natural", or illegitimate, daughters. The first is Alicia von Bielefeld (born in San Francisco on 21 June 1952), whose mother has been identified as Alicia Webber, a 19 years old German national, illegitimate daughter of German aviator and test pilot Hanna Reitsch. Von Bielefeld has become a landscape architect and lives in the United States. His sixth daughter, Alexia Grinda (a.k.a. Alexia Lejeune or Alexia Grinda-Lejeune, born in Paris on 10 July 1967), is his child by Hélène Grinda, a French socialite and fashion model. Although rumours about these two children were already widespread, their status as his daughters was made official after his death. In December 2008, Dutch historian Cees Fasseur claimed that Jonathan Aitken, former British Conservative Cabinet Minister, was also a child of Prince Bernhard, the result of his wartime affair with Penelope Maffey.
Attitudes to Nazi Germany
Prince Bernhard was a member of the "Reiter-SS", a mounted unit of the SS and had joined the Nazi party before the war. He later also joined the National Socialist Motor Corps.
Various members of his family and friends were aligned with the Nazis prior to the Second World War, and a number of them attended the royal wedding. Protocol demanded that the prospective Prince-Consort be invited to an audience with his head of state, who at the time was Adolf Hitler. Hitler gave an account of the conversation he had with Bernhard in his Tischgespräche (Table Conversations). This book was a collection of monologues, remarks, and speeches Hitler gave during lunch or dinner to those he had invited.
The Prince's brother, Prince Aschwin of Lippe-Biesterfeld, was an officer in the German Army. Although the secret services on both sides were interested in this peculiar pair of brothers, no improper contacts or leaks of information were ever discovered. He cut off relations with those members of his family who were enthusiastic Nazis. As a sign of his "Dutchness", near the end of the war, he spoke only Dutch when negotiating the surrender of German forces in the Netherlands.
Second World War
At the outset of the Second World War, during the German invasion of the Netherlands, the Prince, carrying a machine gun, organised the palace guards into a combat group and shot at German warplanes. The Royal family fled the Netherlands and took refuge in England. Disagreeing with Queen Wilhelmina's decision to leave the Kingdom, the young Prince Consort, aged 28, is said at first to have refused to go and to have wanted to oppose the Nazi occupation from within the country. However, in the end, he agreed to join his wife and became head of the Royal Military Mission based in London. His wife Princess Juliana and their children continued on to Canada, where they remained until the end of the war.
In England, Prince Bernhard asked to work in British Intelligence. The War Admiralty, and later General Eisenhower's Allied Command offices, did not trust him enough to allow him access to sensitive intelligence information. On the recommendation of Bernhard's friend and admirer King George VI, however, who was also of German aristocratic descent through his mother Mary of Teck and his great-grandfather Prince Albert, and after Bernhard was personally screened by British intelligence officer Ian Fleming at the behest of Churchill, he was later given work to do in the Allied War Planning Councils.
"For Bernhard, the Prince of the Netherlands, the war was a frustrating business. Born a German, he had married Queen Wilhelmina's only child, Princess Juliana, and in due time made a conscious and meaningful transition of loyalties to his new homeland. Because of this, and in view of the doubts his background initially evoked among some Britons, he longed more than anyone for a chance to get at Holland's aggressors." Erik Hazelhoff Roelfzema aka "Soldier of Orange", decorated war hero.
On 25 June 1940, three days after France fell to the German war machine, Bernhard spoke on the Overseas Service of the BBC. He called Hitler a German tyrant and expressed his confidence that Britain would defeat the Third Reich.
In 1940, Flight Lieutenant Murray Payne gave the prince instruction in flying a Spitfire. The prince made 1,000 flight-hours in a Spitfire with the RAF's No. 322 (Dutch) Squadron RAF, wrecking two planes during landings. He remained an active pilot throughout his life and flew his last aeroplane 53 years later, with his grandson and heir to the throne, who inherited his passion for flying.
In 1941, Prince Bernhard was given the honorary rank of wing commander in the Royal Air Force. As "Wing Commander Gibbs (RAF)", Prince Bernhard flew over occupied Europe, attacking V-1 launch pads in a B-24 Liberator, bombing Pisa, and engaging submarines over the Atlantic in a B-25 Mitchell, and conducting reconnaissance over enemy-held territory in an L-5 Grasshopper. Prince Bernhard was awarded the Dutch Airman's Cross for his "ability and perseverance" (Dutch: "bekwaamheid en volharding"). In 1941 he also received a promotion to Honorary Air Commodore.
He also helped organise the Dutch resistance movement and acted as the personal secretary for Queen Wilhelmina.
Queen Wilhelmina erased the style "honorary" (the exact words were "à la suite") in the decree promoting Bernhard to General. In this unconstitutional manner, she gave this Royal Prince a status that was never intended by either Parliament or her Ministers. The Minister of Defence did not choose to correct the Monarch, and the Prince took an active and important role in the Dutch Armed forces.
By 1944, Prince Bernhard became Commander of the Dutch Armed Forces. After the liberation of the Netherlands, he returned with his family and became active in the negotiations for the German surrender. He was present during the Armistice negotiations and German surrender at Hotel de Wereld ("The World Hotel"), Wageningen in The Netherlands on 5 May 1945, where he avoided speaking German.
The Prince was a genuine war hero in the eyes of most of the Dutch; he kept cordial relations with the Communists who fought against the Nazis. In the post-war years, he earned respect for his work in helping to reinvigorate the economy of the Netherlands.
Postwar roles
After the War, the position of Inspector General was created for the Prince.
On the 4th of September 1948, his mother in law Queen Wilhelmina abdicated the throne and Juliana became Queen of the Netherlands and Bernhard became Prince Consort of the Netherlands. He was made a member of the boards of supervisors of Fokker Aircraft and KLM Royal Dutch Airlines, and within a few years he had been invited to serve as an adviser or non-executive director of numerous corporations and institutions. There have been claims that KLM helped Nazis to leave Germany for Argentina on KLM flights while Bernhard was on its board. After a 1952 trip with Queen Juliana to the United States, Prince Bernhard was heralded by the media as a business ambassador extraordinaire for the Netherlands.
With his global contacts having been approached by the secretive Polish diplomat, Józef Retinger, in May 1954 Bernhard was a key figure in organising a meeting at the Bilderberg Hotel in the Netherlands for the business elite and intellectuals of the Western World to discuss the economic problems in the face of what they characterised as the growing threat from Communism. This first meeting was successful, and it became an annual gathering known as the Bilderberg Group. The idea for the European Union, first proposed by Robert Schuman on 9 May 1950, was encouraged at Bilderberg.
Prince Bernhard was a very outspoken person who often flouted protocol by remarking upon subjects about which he felt deeply. Almost until his last day, he called for more recognition for the Polish veterans of the Second World War, who had figured greatly in the liberation of the Netherlands. But it was not until after his death that the Dutch Government publicly recognised the important role of the Polish Army in the liberation: on 31 May 2006, at the Binnenhof in The Hague, Queen Beatrix conferred the Military William Order, the highest Dutch military decoration, on the Polish 1st Independent Parachute Brigade. The award is now worn by the 6th Airborne Brigade which inherited the battle honours of the brigade.
Friendships and international connections
Prince Bernhard was seen as a jet-setting and charismatic ambassador for the Dutch during post-war reconstruction. Because of his connections, Prince Bernhard reportedly maintained friendships with several high-profile international figures. They included Nelson Mandela, David Rockefeller, Mohammad Reza Pahlavi, Ian Fleming, and Walter Bedell Smith.
Scandals and rumours
Hofmans Affair
In the mid-1950s, Queen Juliana and Prince Bernhard's marriage faced significant strain because of the ongoing influence of Greet Hofmans, a faith healer and layer-on of hands. For nine years she acted as a confidante and adviser to Queen Juliana, often residing at Palace Soestdijk. Originally, Hofmans was introduced to Queen Juliana at the initiative of Prince Bernhard in 1948 to treat an eye illness of their youngest daughter, Princess Christina (then still called Marijke). This illness arose because Juliana was infected with rubella during pregnancy. Hofmans developed a great influence on the Queen, encouraging pacifist ideas. In the period of the Cold War, this caused a crisis in the Royal Household.
While the Dutch press did not report widely on the issue, outside the Netherlands, a great deal was written about the Hofmans affair. On 13 June 1956, an article was published in the German magazine Der Spiegel, titled "Zwischen Königin und Rasputin" – "between the Queen and her Rasputin". It portrayed Hofmans in a less-than-flattering way. Later, Bernhard admitted that he had personally provided the information for the article. Observers said that, in doing so, he hoped to have Hofmans removed from the court. In the face of escalating tensions, the Prime Minister, Willem Drees appointed a committee of "three wise men" (elder statesmen) to advise the royal couple. Hofmans was banished as were various allies and supporters who had grown to prominence within the Royal Household.
In 2008 the report of the "three wise men" was made public. Historian Cees Fasseur drew from it for his book, Juliana & Bernhard (2008); in addition, the Queen had granted him access to the private royal archive. He noted that Bernhard was reprimanded in 1956 for having leaked confidential information to the international press. Fasseur said that Bernhard resorted to bringing in the international press only after repeated, desperate and often dramatic pleading with his wife to distance herself from the Hofmans group. Fasseur wrote:
"Bernard was obviously a free spirited chap, who independently went about his business. But he was still very much a family man. I got the feeling he was the only one that was seeing things were getting completely out of hand and tried to salvage the situation as much as he could."
Lockheed scandal
Scandal rocked the Royal family in 1976 when the press reported that Prince Bernhard had accepted a US$1.1 million bribe from U.S. aircraft manufacturer Lockheed Corporation to influence the Dutch government's purchase of fighter aircraft. At the time he had served on more than 300 corporate boards and committees worldwide and had been praised in the Netherlands for his efforts to promote the economic well-being of the country. Prime Minister of the Netherlands Joop den Uyl ordered an inquiry into the Lockheed affair. Prince Bernhard refused to answer reporters' questions, stating: "I am above such things".
The Dutch and international press headlined the stories for months. They also brought up records of Prince Bernhard's Reiter SS membership and details of his numerous extramarital affairs. They noted he had purchased a luxurious Paris apartment for his mistress Hélène Grinda (granddaughter of Édouard Grinda), with whom he had a daughter, Alexia, who was illegitimate. Bernhard had an older illegitimate daughter, Alicia, born in the United States (with a German pilot whom he met in Mexico in 1951).
On 26 August 1976, a full report of Prince Bernhard's activities was released to a shocked Dutch public. The Prince's own letter of 1974, to Lockheed Corporation, was publicised; he had demanded "commissions" be paid to him on Dutch government aircraft purchases. This was very damaging evidence of improper conduct by the man who was Inspector-General of the Dutch Armed Forces. Out of respect for Queen Juliana, the government did not press charges against Bernhard.
Prince Bernhard resigned as Inspector-General of the Dutch Armed Forces. He was no longer officially allowed to wear a uniform in public. But a few years later, he was in full military dress when he attended the 1979 funeral of Lord Mountbatten in London.
Prime Minister Joop den Uyl made a statement in Parliament and told the delegates that the Prince would also resign from his various high-profile positions in businesses, charities, and other institutions. The Dutch States-General voted against criminal prosecution. Prince Bernhard turned over the Presidency of the international World Wildlife Fund to Prince Philip, Duke of Edinburgh.
In an interview published after his death, on 14 December 2004, Prince Bernhard admitted that he had accepted more than one million dollars (US) in bribes from Lockheed. He acknowledged it was a mistake and claimed that all of the money went to the WWF. He said: "I have accepted that the word Lockheed will be carved on my tombstone." He also confirmed having fathered two illegitimate daughters.
In February 2008, Joop den Uyl's biography claimed that the official report investigating the Lockheed bribe scandal also presented proof that the Prince had accepted money from yet another aerospace firm: Northrop. The former Prime Minister claimed he had not made the information public to protect the Dutch monarchy.
Project Lock
In 1988, Prince Bernhard and Princess Juliana sold two paintings from their personal collection to raise money for the World Wildlife Fund. The paintings sold for GBP700,000, which was deposited in a Swiss WWF bank account. In 1989, however, Charles de Haes, Director-General of the WWF, transferred GBP500,000 back to Bernhard, for what De Haes called a private project. In 1991, newspapers reported what this private project was: Prince Bernhard had hired KAS International, owned by Special Air Service founder Sir David Stirling, to use mercenaries – mostly British – to fight poachers in nature reserves. The paramilitary group infiltrated organisations profiting from illegal trade in ivory in order to arrest them.
This Project Lock seemed to have backfired enormously, however. The hired mercenaries had not only infiltrated the illegal trade, they were also participating in it.
In 1995, Nelson Mandela called upon the Kumleben Commission to investigate, among other things, the role of the WWF in apartheid-South Africa. In the report that followed, it was suggested that mercenaries from Project Lock had planned assassinations of ANC members and that mercenaries had been running training camps in the wildlife reserves, training fighters from the anti-communist groups UNITA and Renamo. Prince Bernhard was never accused of any crime in this context but the Project Lock scandal negatively impacted the Prince's reputation.
Additional controversies and rumours
Prince Bernhard garnered media attention when, on 30 October 2002, he paid the fines of two Albert Heijn supermarket staff members, who were convicted of assaulting a shoplifter after they detained him.
The 2009 publication HRH: High Stakes at the Court of His Royal Highness by historian Harry Veenendaal and journalist Jort Kelder alleges that the Prince in 1950 attempted to oust the young government of the newly founded Republic of Indonesia and place himself to lead the Islands as Viceroy similar to Lord Mountbatten's role in British India. This was particularly contentious as in 1949 the Netherlands had already officially recognised its former colony as an independent nation.
A 2016 biography by Jolande Withuis about his wife queen Juliana, titled Juliana, posited further rumours including that he had once sexually assaulted a minor, that he had refused to divorce the queen twice, and that later on during their final years in life he prohibited Juliana from seeing him.
Death
In 1994 the Prince had a colon tumor removed and suffered severe complications due to respiratory distress. In December, his daughter Queen Beatrix rushed to the hospital straight after landing from a trip to Africa. By Christmas the prospect of death had faded and spring the next year he recovered enough to go home. His health problems continued in 1998 when he had a prostate swelling and in 1999 when he suffered difficulties breathing and talking. He did, however, attend the wedding of his grandson, straight after having prostate surgery. In 2000, his life was endangered again when he suffered neurological complications and continued breathing problems. Two days after intensive medical (and media) attention the Royal Press Office issued a statement the Prince was reading newspapers again.
Over the following years Bernhard continued to appear at the military parades on the national liberation day celebrating the defeat of Nazi Germany. Only when his wife Juliana died in March 2004 did the Prince become exceedingly fragile. Up to the last moment it remained uncertain if he could attend the royal funeral, which he eventually managed to attend. He said his final farewells to his war comrades on Liberation Day in May and in November that same year he was diagnosed with untreatable cancer.
Prince Bernhard died of lung cancer at the age of 93 at University Medical Center Utrecht in Utrecht on 1 December 2004, two years after the death of his son-in-law Prince Claus; his death suffered from malignant lung and intestinal tumors. On 11 December 2004, he was interred with a state funeral at the Nieuwe Kerk, Delft. Bernhard's funeral was different from those of Prince Claus and Queen Juliana in that Bernhard's coffin was transported on the undercarriage of a cannon instead of in the traditional carriage used when the coffins of Prince Claus and Queen Juliana were transported to Delft. Together with the playing of many military marches and the forming of guards of honour by Second World War veterans this gave the funeral procession a military character as the late Prince, a Second World War veteran, had wished. As a final tribute to his former military role in the Royal Netherlands Air Force, three modern F-16 jet fighters and a World War II Spitfire plane performed a low flypast during the funeral in a classic missing man formation.
In popular culture
In the years after Bernhard died his life story has been the inspiration for literature, theatre, television and comic books. In 2010 fact and fiction of the life of Bernhard was portrayed in a Dutch television series. In a biographical dissertation by Dutch journalist and historian Annejet van der Zijl published in March 2010, Bernhard was called "a failure" in the history of the Dutch Royal Family and a "creature of his own myths".
Titles, styles and honours
Titles
29 June 1911 – 1916: Count Bernhard of Biesterfeld
1916 – 7 January 1937: His Serene Highness Prince Bernhard of Lippe-Biesterfeld
7 January 1937 – 6 September 1948: His Royal Highness Prince Bernhard of the Netherlands, Prince of Lippe-Biesterfeld
6 September 1948 – 30 April 1980: His Royal Highness The Prince of the Netherlands
30 April 1980 – 1 December 2004: His Royal Highness Prince Bernhard of the Netherlands, Prince of Lippe-Biesterfeld
Honours
National honours
Knight Commander of the Military William Order
Knight Grand Cross of the Order of the Netherlands Lion
Knight Grand Cross of the Order of Orange-Nassau
Grand Master Knight Commander of the Order of the Golden Ark, 1st Class
Knight Commander of the Order of St. John in the Netherlands
Recipient of the Airman's Cross
Recipient of the Queen Juliana Inauguration Medal
Foreign honours
: Grand Cross of the Order of the Liberator General San Martín
: Grand Star Decoration for Services to the Republic of Austria, Gold
: Knight Grand Cross of the Order of Leopold I
: Recipient of the War Cross Medal 1939–1945
: Grand Cross of the Order of the Southern Cross
: Grand Cross of the Order of Valour
: Grand Cross of the Order of the White Lion
: Recipient of the Czechoslovak War Cross 1939–1945
: Grand Cross of the Order of Merit
: Grand Cross of the Order of Boyaca, Special Class
: Knight of the Order of the Elephant
: Grand Cross of the Order of Merit of Duarte, Sánchez and Mella, Silver
: Grand Cross of the Order of Abdon Calderón
Ethiopian Imperial Family: Knight Grand Cordon with Collar of the Order of the Queen of Sheba
: Grand Cross of the Order of the White Rose of Finland
: Grand Cross of the Order of the Legion of Honour
: Commander of the Order of Academic Palms
: Recipient of the Aeronautical Medal
: Grand Cross of the Order of Merit of the Federal Republic of Germany, Special Issue
Greece
Greek Royal Family: Knight Grand Cross of the Order of George I
: Recipient of the 1940 War Cross Medal
: Grand Cross of the Order of Santa Rosa and of Civilisation
: Adipurna Grand Cross of the Order of the star of Mahaputera
Iranian Imperial Family: Knight Grand Cordon of the Order of the Lion and the Sun
Iranian Imperial Family: Recipient of the Commemorative Medal of the 2,500 year Celebration of the Persian Empire
: Grand Cross of the Order of Merit of the Italian Republic
: Grand Cross of the National Order of the Ivory Coast
: Knight Grand Cordon of the Order of the Rising Sun
: Grand Cross of the Order of the Pioneers of Liberia
: Knight Grand Cross of the Order of the Gold Lion of the House of Nassau
: Recipient of the War Cross Medal 1939–1945
: Grand Cross of the Order of the Aztec Eagle, Special Class
Nepal: Member Grand Cross of the Order of Ojaswi Rajanya
: Grand Cross of the Order of Rubén Darío, Special Class
: Knight Grand Cross of the Order of Saint Olav
: Grand Cross of the Order of Manuel Amador Guerrero
: Grand Cross of the Order of Merit, Special Class
: Grand Cross of the Order of the Sun of Peru
: Grand Cross of the Order of Military Virtue
: Grand Cross of the National Order of Merit
: Bailiff Knight Grand Cross of Honour and Devotion of the Sovereign Military Order of Malta
: Knight Grand Cross of the Order of Charles III
: Grand Cross of the Honorary Order of the Yellow Star
: Knight Grand Cross of the Royal Order of the Seraphim
: Knight Grand Cordon with Chain of the Order of the Royal House of Chakri
: Grand Cross of the Order of Independence
: Honorary Knight Grand Cross of the Order of the Bath
: Honorary Knight Grand Cross of the Royal Victorian Order
: Recipient of the France and Germany Star
: Recipient of the Defence Medal
: Recipient of the King George VI Coronation Medal
: Recipient of the Queen Elizabeth II Coronation Medal
: Officer of the Legion of Merit
: Grand Cross of the Order of the Liberator
: Grand Cross of the Order of Karađorđe's Star
Military ranks
Military ranks of the Armed forces of the Netherlands
Honorary military ranks of foreign armed forces
Ancestry
References
External links
1911 births
2004 deaths
20th-century Calvinist and Reformed Christians
Aide-de-camp to the Monarch of the Netherlands
Burials in the Royal Crypt at Nieuwe Kerk, Delft
Chairmen of the Steering Committee of the Bilderberg Group
Commanders-in-chief of the Armed Forces of the Netherlands
Converts to Calvinism from Lutheranism
Counts of Lippe
Counts of Lippe-Biesterfeld
Deaths from cancer in the Netherlands
Deaths from lung cancer
Deaths from stomach cancer
Dutch animal rights activists
Dutch conservationists
Dutch lobbyists
Dutch members of the Dutch Reformed Church
Dutch nonprofit directors
Dutch nonprofit executives
Dutch people of German descent
Dutch royal consorts
Engelandvaarders
German Calvinist and Reformed Christians
German Lutherans
German royalty
Grand Cordons of the Honorary Order of the Yellow Star
Grand Cordons of the Order of the Rising Sun
Grand Croix of the Légion d'honneur
Grand Crosses Special Class of the Order of Merit of the Federal Republic of Germany
Grand Crosses of the Order of George I
Grand Crosses of the Order of the Sun of Peru
Grand Crosses of the Order of the White Lion
Honorary air commodores
Honorary Knights Grand Cross of the Order of the Bath
Honorary Knights Grand Cross of the Royal Victorian Order
House of Lippe
House of Orange-Nassau
Humboldt University of Berlin alumni
Inspectors general
Knights Commander of the Military Order of William
Knights Grand Cross of the Order of Merit of the Italian Republic
Knights Grand Cross of the Order of Orange-Nassau
Knights of the Order of Saint John in the Netherlands
Knights of the Order of the Netherlands Lion
Lockheed bribery scandals
Members of the Council of State (Netherlands)
Members of the Steering Committee of the Bilderberg Group
National Socialist Motor Corps members
Military personnel from Jena
People from Saxe-Weimar-Eisenach
Political controversies in the Netherlands
Princes of Lippe
Princes of Lippe-Biesterfeld
Protestant Church Christians from the Netherlands
Recipients of the Airman's Cross
Recipients of the Czechoslovak War Cross
Recipients of the Order of Orange-Nassau
Royal Air Force air marshals
Royal Air Force personnel of World War II
Royal Australian Air Force officers
Royal Netherlands Air Force generals
Royal Netherlands Air Force personnel of World War II
Royal Netherlands Air Force pilots
Royal Netherlands Army generals
Royal Netherlands Army personnel of World War II
Royal Netherlands East Indies Army generals
Royal Netherlands East Indies Army officers
Royal Netherlands East Indies Army personnel of World War II
Royal Netherlands Navy admirals
Royal Netherlands Navy personnel of World War II
University of Lausanne alumni
World Wide Fund for Nature
| false |
[
"Lady Juliana Penn (; May 21, 1729 – November 20, 1801) was the English wife of Thomas Penn, and she assisted him in the administration of the Colony of Pennsylvania in his later years. She corresponded with John Adams and other leaders of the early United States.\n\nEarly life\nLady Juliana was born in 1729, at Easton Neston, Northamptonshire, the fourth daughter of Thomas Fermor, 1st Earl of Pomfret and Henrietta Louisa Jeffreys.\n\nMarriage, family, and colonial relations\nJuliana Fermor and Thomas Penn married on August 22, 1751. Lady Juliana was almost thirty years her husband's junior. After their marriage, Thomas Penn (formerly a Quaker) attended Anglican church services regularly, though he did not take part in the sacrament of Communion. The Penns lived at Stoke Park, Buckinghamshire. The Penns had eight children; four of them died in infancy or childhood, and daughter Juliana died in childbirth at age 19.\n\nThomas Penn experienced declining health in the early 1770s, and as their sons John Penn and Granville Penn were still very young, Lady Juliana took an active role in maintaining the proprietorship of Pennsylvania. She corresponded with Governor John Penn and other colonial officials, including discussing maps and other materials of administration. \n\nIn March 1775, Lady Juliana was widowed, and was appointed co-executor of her husband's personal estate. Soon after, events of the American Revolutionary War complicated her family's fortunes, and she wrote frequently to American leaders such as Henry Laurens and John Adams about \"the cause of an Innocent and Suffering Family.\" Lady Juliana and her co-executor William Baker also took an active interest in the survey of Susquehanna Land Company holdings in the Wyoming Valley, and wrote to James Tilghman expressing their hopes for a favorable outcome. The Reverend Jacob Duché wrote to Benjamin Franklin about visiting \"my most Amiable Friend Lady Juliana Penn,\" during an official trip to England in 1783. John Jay wrote to Lady Juliana from the Treaty of Paris (1783) negotiations, to keep her apprised of their progress.\n\nLady Juliana Penn died in 1801, aged 72, at Beaufort House, Ham. Her remains were buried with her husband's and with her children's, at Stoke Poges.\n\nLegacy\nLady Juliana sat for three portraits with Sir Joshua Reynolds, in 1755, 1764, and 1767. A 1752 portrait of Lady Juliana by Arthur Devis is held by the Philadelphia Museum of Art. The Juliana Library Company of Lancaster, Pennsylvania was named in 1763 for Lady Juliana Penn, because she donated books to the subscription library's collections.\n\nReferences\n\n1729 births\n1801 deaths\n18th-century English women\n18th-century English people\nDaughters of British earls\nJuliana\nPeople from West Northamptonshire District\nPeople of Pennsylvania in the American Revolution",
"Juliana Hele (c. 1706 – 20 November 1794) was an English noblewoman. She was the third wife of Peregrine Osborne, 3rd Duke of Leeds, and later the wife of Charles Colyear, 2nd Earl of Portmore, and mother of the 3rd Earl.\n\nJuliana was the daughter and heiress of Roger Hele, of Newton Ferrers in Devonshire, and his wife, the former Juliana Prestwood.\n\nOn 9 April 1725 she married the future duke at St Anne's Church, Soho. Osborne's second wife, the former Lady Anne Seymour, had died in 1722. There were no children from her marriage to the duke, who already had a son and heir from his first marriage, to Lady Elizabeth Harley. He inherited the dukedom from his father in 1729.\n\nThe duchess was one of the signatories to Thomas Coram's petition to establish the Foundling Hospital, which she signed on 24 June 1730.\n\nOn the duke's early death in 1731, he was succeeded by Juliana's stepson, Thomas. Juliana married Charles Colyear, 2nd Earl of Portmore, on 7 October 1732. The earl had been a sporting associate of her first husband. After her second marriage, Juliana continued to call herself Duchess of Leeds.\n\nTheir children were:\n\nCaroline Colyear (c.1733 - 7 February 1812), who married Nathaniel Curzon, 1st Baron Scarsdale, and had children\nJuliana Colyear (c.1735 - 29 April 1821), who married Henry Dawkins in 1759, and had children\nDavid Colyear (1736-1756), Viscount Milsington, who died unmarried while serving in the Coldstream Guards\nWilliam Charles Colyear, 3rd Earl of Portmore (c.1745 - 15 November 1823), who married Lady Mary Leslie and had children\n\nShe died on 20 November 1794 at the age of 88 at Stratford Place, Marylebone.\n\nReferences \n\nEnglish philanthropists\n1706 births\n1794 deaths\nPeople from Marylebone\nEnglish women philanthropists\nLeeds, Juliana Osborne, Duchess of\nPortmore\nJuliana\n18th-century philanthropists"
] |
[
"Prince Bernhard of Lippe-Biesterfeld",
"Marriage and children",
"Was he married?",
"they were married at The Hague on 7 January 1937.",
"Who was he married to?",
"Princess Juliana",
"Did they have any children?",
"Prince Bernhard was father of six children,",
"Did either him or Juliana have children outside of the marriage?",
"He had two illegitimate daughters."
] |
C_6a2082aebb474143978bf0f0adc8d517_1
|
Where they conceived before his marriage to Princess Juliana?
| 5 |
Where Prince Bernhard of Lippe-Biesterfeld' two illegitimate daughters conceived before his marriage to Princess Juliana?
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Prince Bernhard of Lippe-Biesterfeld
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Bernhard met then-Princess Juliana at the 1936 Winter Olympics at Garmisch-Partenkirchen. Juliana's mother, Queen Wilhelmina, had spent most of the 1930s looking for a suitable husband for Juliana. As a Protestant of royal rank (the Lippe-Biesterfelds were a sovereign house in the German Empire), Bernhard was acceptable for the devoutly religious Wilhelmina. Wilhelmina left nothing to chance, and had her lawyers draft a very detailed prenuptial agreement that specified exactly what Bernhard could and could not do. The couple's engagement was announced on 8 September 1936, and they were married at The Hague on 7 January 1937. Earlier, Bernhard had been granted Dutch citizenship, and changed the spelling of his names from German to Dutch. Previously styled as Serene Highness, he became a Royal Highness by Dutch Law. His appropriateness as consort of the future Queen would later become a matter of some public debate. Prince Bernhard was father of six children, four of them with Queen Juliana. The eldest daughter is Princess Beatrix, former Queen of the Netherlands, (1938). His other daughters with Juliana are Irene (1939), Margriet (1943) and Christina (1947). He had two illegitimate daughters. The first is Alicia von Bielefeld (born 21 June 1952), whose mother has not been identified. She is a landscape architect and lives in the United States. Prince Bernhard's sixth daughter, Alexia Grinda (a.k.a. Alexia Lejeune or Alexia Grinda-Lejeune, born in Paris on 10 July 1967), is his child by the French socialite and fashion model Helene Grinda. Although rumours about these two children had already spread, it was made official after his death. In December 2008, Dutch historian Cees Fasseur claimed that former British Conservative Cabinet Minister Jonathan Aitken was the result of a wartime affair between Prince Bernhard and Aitken's mother, previously Penelope Maffey. CANNOTANSWER
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The first is Alicia von Bielefeld (born 21 June 1952),
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Prince Bernhard of Lippe-Biesterfeld (later Prince Bernhard of the Netherlands, ; 29 June 1911 – 1 December 2004) was a German-born nobleman who was the consort to Queen Juliana of the Netherlands; they were the parents of four children, including Beatrix, who was Queen of the Netherlands from 1980 to 2013.
He belonged to the princely House of Lippe and was a nephew of the Principality of Lippe's last sovereign Leopold IV. From birth he held the title Count of Biesterfeld; his uncle raised him to princely rank with the style of Serene Highness in 1916. He studied law and worked as an executive secretary at the Paris office of IG Farben. In 1937 he married Princess Juliana of the Netherlands and was immediately given the title Prince of the Netherlands with the style of Royal Highness. Upon his wife's accession to the throne in 1948, he became the prince consort of the Netherlands.
Although his private life was rather controversial, Prince Bernhard was still generally regarded as a popular figure by the majority of the Dutch for his performance as a combat pilot and his activities as a liaison officer and personal aide to Queen Wilhelmina during World War II, and for his work during post-war reconstruction. During World War II, he was part of the London-based Allied war planning councils. He saw active service as a Wing Commander (RAF), flying both fighter and bomber planes into combat. He was a Dutch general and Supreme Commander of the Dutch Armed forces, involved in negotiating the terms of surrender of the German Army in the Netherlands. For proven bravery, leadership and loyalty during his wartime efforts, he was appointed a Commander of the Military William Order, the Netherlands' oldest and highest honour. After the war he was made Honorary Air Marshal of the Royal Air Force by Queen Elizabeth II of the United Kingdom. In 1969, Bernhard was awarded the Grand Cross (Special Class) of the Order of Merit of the Federal Republic of Germany.
Bernhard helped found the World Wildlife Fund (later renamed World Wide Fund for Nature), becoming its first president in 1961. In 1970, along with Prince Philip, Duke of Edinburgh and other associates, he established the WWF's financial endowment "The 1001: A Nature Trust". In 1954, he was a co-founder of the international Bilderberg Group, which has met annually since then to discuss corporate globalisation and other issues concerning Europe and North America. He was forced to step down from both groups after being involved in the Lockheed Bribery Scandal in 1976.
Early life
Bernhard was born Bernhard Leopold Friedrich Eberhard Julius Kurt Karl Gottfried Peter, Count of Biesterfeld in Jena, Saxe-Weimar-Eisenach, German Empire on 29 June 1911, the elder son of Prince Bernhard of Lippe and his wife, Baroness Armgard von Sierstorpff-Cramm. He was a grandson of Ernest, Count of Lippe-Biesterfeld, who was regent of the Principality of Lippe until 1904. He was also a nephew of the principality's last sovereign, Leopold IV, Prince of Lippe.
Because his parents' marriage did not conform with the marriage laws of the House of Lippe, it was initially deemed morganatic, so Bernhard was granted only the title of Count of Biesterfeld at birth. He and his brother could succeed to the Lippian throne only if the entire reigning House became extinct. In 1916, his uncle Leopold IV as reigning Prince raised Bernhard and his mother to Prince and Princess of Lippe-Biesterfeld, thereby retroactively according his parents' marriage dynastic status. The suffix Biesterfeld was revived to mark the beginning of a new cadet line of the House of Lippe.
After World War I, Bernhard's family lost their German Principality and the revenue that had accompanied it. But the family was still reasonably well-off. Bernhard spent his early years at Reckenwalde castle (Wojnowo, Poland), the family's new estate in East Brandenburg, thirty kilometres east of the River Oder. He was taught privately and received his early education at home. When he was twelve, he was sent to board at the Gymnasium in Züllichau (Sulechów). Several years later he was sent to board at a Gymnasium in Berlin, from which he graduated in 1929.
Bernhard suffered from poor health as a boy. Doctors predicted that he would not live very long. This prediction might have inspired Bernhard's reckless driving and the risks that he took in the Second World War and thereafter. The prince wrecked several cars and planes in his lifetime.
Bernhard studied law at the University of Lausanne, Switzerland and in Berlin. In the latter city, he also acquired a taste for fast cars, horse riding, and big-game hunting safaris. He was nearly killed in a boating accident and an aeroplane crash. He suffered a broken neck and crushed ribs in a 160 km/h (100 mph) car crash in 1938.
While at university, Bernhard joined the Nazi Party. He also enrolled in the Sturmabteilung (SA), which he left in December 1934 when he graduated and went to work for IG Farben. The Prince later denied that he had belonged to SA, to the Reiter-SS (SS Cavalry Corps), and to the NSKK, but these are well-documented memberships. While he was not a fierce champion of democracy, the Prince was never known to hold any radical political views or express any racist sentiments, although he admitted that he briefly had sympathised with Adolf Hitler's regime.
The Prince eventually went to work for the German chemical giant IG Farben in the early 1930s, then the world's fourth-largest company. (It survives today as BASF, AGFA, and Bayer). He joined the statistics department of IG Farben's Berlin N.W. 7 department, the key Nazi overseas espionage center (known as VOWI) that evolved into the economic intelligence arm of the Wehrmacht. He lodged with Count Paul von Kotzebue (1884-1966), an exiled Russian nobleman of German descent, and his wife Allene Tew, who was born in the United States. After training, Bernhard became secretary in 1935 to the board of directors at the Paris office.
Marriage and children
Bernhard met then-Princess Juliana at the 1936 Winter Olympics at Garmisch-Partenkirchen. Juliana's mother, Queen Wilhelmina, had spent most of the 1930s looking for a suitable husband for Juliana. As a Protestant of royal rank (the Lippes were a sovereign house in the German Empire), Bernhard was deemed acceptable for the devoutly religious Wilhelmina. They were distantly related, 7th cousins in particular, both descending from Lebrecht, Prince of Anhalt-Zeitz-Hoym. Wilhelmina left nothing to chance, and had her lawyers draft a very detailed prenuptial agreement that specified exactly what Bernhard could and could not do. The couple's engagement was announced on 8 September 1936, and they were married at The Hague on 7 January 1937. Earlier, Bernhard had been granted Dutch citizenship and changed the spelling of his names from German to Dutch. Previously styled as Serene Highness, he became a Royal Highness by Dutch law. His appropriateness as consort of the future Queen would later become a matter of some public debate.
Prince Bernhard fathered six children, four of them with Queen Juliana. The eldest daughter is Beatrix, (born 1938), who later became Queen of the Netherlands. His other daughters with Juliana are Irene (born 1939), Margriet (born 1943) and Christina (1947–2019).
He had two "natural", or illegitimate, daughters. The first is Alicia von Bielefeld (born in San Francisco on 21 June 1952), whose mother has been identified as Alicia Webber, a 19 years old German national, illegitimate daughter of German aviator and test pilot Hanna Reitsch. Von Bielefeld has become a landscape architect and lives in the United States. His sixth daughter, Alexia Grinda (a.k.a. Alexia Lejeune or Alexia Grinda-Lejeune, born in Paris on 10 July 1967), is his child by Hélène Grinda, a French socialite and fashion model. Although rumours about these two children were already widespread, their status as his daughters was made official after his death. In December 2008, Dutch historian Cees Fasseur claimed that Jonathan Aitken, former British Conservative Cabinet Minister, was also a child of Prince Bernhard, the result of his wartime affair with Penelope Maffey.
Attitudes to Nazi Germany
Prince Bernhard was a member of the "Reiter-SS", a mounted unit of the SS and had joined the Nazi party before the war. He later also joined the National Socialist Motor Corps.
Various members of his family and friends were aligned with the Nazis prior to the Second World War, and a number of them attended the royal wedding. Protocol demanded that the prospective Prince-Consort be invited to an audience with his head of state, who at the time was Adolf Hitler. Hitler gave an account of the conversation he had with Bernhard in his Tischgespräche (Table Conversations). This book was a collection of monologues, remarks, and speeches Hitler gave during lunch or dinner to those he had invited.
The Prince's brother, Prince Aschwin of Lippe-Biesterfeld, was an officer in the German Army. Although the secret services on both sides were interested in this peculiar pair of brothers, no improper contacts or leaks of information were ever discovered. He cut off relations with those members of his family who were enthusiastic Nazis. As a sign of his "Dutchness", near the end of the war, he spoke only Dutch when negotiating the surrender of German forces in the Netherlands.
Second World War
At the outset of the Second World War, during the German invasion of the Netherlands, the Prince, carrying a machine gun, organised the palace guards into a combat group and shot at German warplanes. The Royal family fled the Netherlands and took refuge in England. Disagreeing with Queen Wilhelmina's decision to leave the Kingdom, the young Prince Consort, aged 28, is said at first to have refused to go and to have wanted to oppose the Nazi occupation from within the country. However, in the end, he agreed to join his wife and became head of the Royal Military Mission based in London. His wife Princess Juliana and their children continued on to Canada, where they remained until the end of the war.
In England, Prince Bernhard asked to work in British Intelligence. The War Admiralty, and later General Eisenhower's Allied Command offices, did not trust him enough to allow him access to sensitive intelligence information. On the recommendation of Bernhard's friend and admirer King George VI, however, who was also of German aristocratic descent through his mother Mary of Teck and his great-grandfather Prince Albert, and after Bernhard was personally screened by British intelligence officer Ian Fleming at the behest of Churchill, he was later given work to do in the Allied War Planning Councils.
"For Bernhard, the Prince of the Netherlands, the war was a frustrating business. Born a German, he had married Queen Wilhelmina's only child, Princess Juliana, and in due time made a conscious and meaningful transition of loyalties to his new homeland. Because of this, and in view of the doubts his background initially evoked among some Britons, he longed more than anyone for a chance to get at Holland's aggressors." Erik Hazelhoff Roelfzema aka "Soldier of Orange", decorated war hero.
On 25 June 1940, three days after France fell to the German war machine, Bernhard spoke on the Overseas Service of the BBC. He called Hitler a German tyrant and expressed his confidence that Britain would defeat the Third Reich.
In 1940, Flight Lieutenant Murray Payne gave the prince instruction in flying a Spitfire. The prince made 1,000 flight-hours in a Spitfire with the RAF's No. 322 (Dutch) Squadron RAF, wrecking two planes during landings. He remained an active pilot throughout his life and flew his last aeroplane 53 years later, with his grandson and heir to the throne, who inherited his passion for flying.
In 1941, Prince Bernhard was given the honorary rank of wing commander in the Royal Air Force. As "Wing Commander Gibbs (RAF)", Prince Bernhard flew over occupied Europe, attacking V-1 launch pads in a B-24 Liberator, bombing Pisa, and engaging submarines over the Atlantic in a B-25 Mitchell, and conducting reconnaissance over enemy-held territory in an L-5 Grasshopper. Prince Bernhard was awarded the Dutch Airman's Cross for his "ability and perseverance" (Dutch: "bekwaamheid en volharding"). In 1941 he also received a promotion to Honorary Air Commodore.
He also helped organise the Dutch resistance movement and acted as the personal secretary for Queen Wilhelmina.
Queen Wilhelmina erased the style "honorary" (the exact words were "à la suite") in the decree promoting Bernhard to General. In this unconstitutional manner, she gave this Royal Prince a status that was never intended by either Parliament or her Ministers. The Minister of Defence did not choose to correct the Monarch, and the Prince took an active and important role in the Dutch Armed forces.
By 1944, Prince Bernhard became Commander of the Dutch Armed Forces. After the liberation of the Netherlands, he returned with his family and became active in the negotiations for the German surrender. He was present during the Armistice negotiations and German surrender at Hotel de Wereld ("The World Hotel"), Wageningen in The Netherlands on 5 May 1945, where he avoided speaking German.
The Prince was a genuine war hero in the eyes of most of the Dutch; he kept cordial relations with the Communists who fought against the Nazis. In the post-war years, he earned respect for his work in helping to reinvigorate the economy of the Netherlands.
Postwar roles
After the War, the position of Inspector General was created for the Prince.
On the 4th of September 1948, his mother in law Queen Wilhelmina abdicated the throne and Juliana became Queen of the Netherlands and Bernhard became Prince Consort of the Netherlands. He was made a member of the boards of supervisors of Fokker Aircraft and KLM Royal Dutch Airlines, and within a few years he had been invited to serve as an adviser or non-executive director of numerous corporations and institutions. There have been claims that KLM helped Nazis to leave Germany for Argentina on KLM flights while Bernhard was on its board. After a 1952 trip with Queen Juliana to the United States, Prince Bernhard was heralded by the media as a business ambassador extraordinaire for the Netherlands.
With his global contacts having been approached by the secretive Polish diplomat, Józef Retinger, in May 1954 Bernhard was a key figure in organising a meeting at the Bilderberg Hotel in the Netherlands for the business elite and intellectuals of the Western World to discuss the economic problems in the face of what they characterised as the growing threat from Communism. This first meeting was successful, and it became an annual gathering known as the Bilderberg Group. The idea for the European Union, first proposed by Robert Schuman on 9 May 1950, was encouraged at Bilderberg.
Prince Bernhard was a very outspoken person who often flouted protocol by remarking upon subjects about which he felt deeply. Almost until his last day, he called for more recognition for the Polish veterans of the Second World War, who had figured greatly in the liberation of the Netherlands. But it was not until after his death that the Dutch Government publicly recognised the important role of the Polish Army in the liberation: on 31 May 2006, at the Binnenhof in The Hague, Queen Beatrix conferred the Military William Order, the highest Dutch military decoration, on the Polish 1st Independent Parachute Brigade. The award is now worn by the 6th Airborne Brigade which inherited the battle honours of the brigade.
Friendships and international connections
Prince Bernhard was seen as a jet-setting and charismatic ambassador for the Dutch during post-war reconstruction. Because of his connections, Prince Bernhard reportedly maintained friendships with several high-profile international figures. They included Nelson Mandela, David Rockefeller, Mohammad Reza Pahlavi, Ian Fleming, and Walter Bedell Smith.
Scandals and rumours
Hofmans Affair
In the mid-1950s, Queen Juliana and Prince Bernhard's marriage faced significant strain because of the ongoing influence of Greet Hofmans, a faith healer and layer-on of hands. For nine years she acted as a confidante and adviser to Queen Juliana, often residing at Palace Soestdijk. Originally, Hofmans was introduced to Queen Juliana at the initiative of Prince Bernhard in 1948 to treat an eye illness of their youngest daughter, Princess Christina (then still called Marijke). This illness arose because Juliana was infected with rubella during pregnancy. Hofmans developed a great influence on the Queen, encouraging pacifist ideas. In the period of the Cold War, this caused a crisis in the Royal Household.
While the Dutch press did not report widely on the issue, outside the Netherlands, a great deal was written about the Hofmans affair. On 13 June 1956, an article was published in the German magazine Der Spiegel, titled "Zwischen Königin und Rasputin" – "between the Queen and her Rasputin". It portrayed Hofmans in a less-than-flattering way. Later, Bernhard admitted that he had personally provided the information for the article. Observers said that, in doing so, he hoped to have Hofmans removed from the court. In the face of escalating tensions, the Prime Minister, Willem Drees appointed a committee of "three wise men" (elder statesmen) to advise the royal couple. Hofmans was banished as were various allies and supporters who had grown to prominence within the Royal Household.
In 2008 the report of the "three wise men" was made public. Historian Cees Fasseur drew from it for his book, Juliana & Bernhard (2008); in addition, the Queen had granted him access to the private royal archive. He noted that Bernhard was reprimanded in 1956 for having leaked confidential information to the international press. Fasseur said that Bernhard resorted to bringing in the international press only after repeated, desperate and often dramatic pleading with his wife to distance herself from the Hofmans group. Fasseur wrote:
"Bernard was obviously a free spirited chap, who independently went about his business. But he was still very much a family man. I got the feeling he was the only one that was seeing things were getting completely out of hand and tried to salvage the situation as much as he could."
Lockheed scandal
Scandal rocked the Royal family in 1976 when the press reported that Prince Bernhard had accepted a US$1.1 million bribe from U.S. aircraft manufacturer Lockheed Corporation to influence the Dutch government's purchase of fighter aircraft. At the time he had served on more than 300 corporate boards and committees worldwide and had been praised in the Netherlands for his efforts to promote the economic well-being of the country. Prime Minister of the Netherlands Joop den Uyl ordered an inquiry into the Lockheed affair. Prince Bernhard refused to answer reporters' questions, stating: "I am above such things".
The Dutch and international press headlined the stories for months. They also brought up records of Prince Bernhard's Reiter SS membership and details of his numerous extramarital affairs. They noted he had purchased a luxurious Paris apartment for his mistress Hélène Grinda (granddaughter of Édouard Grinda), with whom he had a daughter, Alexia, who was illegitimate. Bernhard had an older illegitimate daughter, Alicia, born in the United States (with a German pilot whom he met in Mexico in 1951).
On 26 August 1976, a full report of Prince Bernhard's activities was released to a shocked Dutch public. The Prince's own letter of 1974, to Lockheed Corporation, was publicised; he had demanded "commissions" be paid to him on Dutch government aircraft purchases. This was very damaging evidence of improper conduct by the man who was Inspector-General of the Dutch Armed Forces. Out of respect for Queen Juliana, the government did not press charges against Bernhard.
Prince Bernhard resigned as Inspector-General of the Dutch Armed Forces. He was no longer officially allowed to wear a uniform in public. But a few years later, he was in full military dress when he attended the 1979 funeral of Lord Mountbatten in London.
Prime Minister Joop den Uyl made a statement in Parliament and told the delegates that the Prince would also resign from his various high-profile positions in businesses, charities, and other institutions. The Dutch States-General voted against criminal prosecution. Prince Bernhard turned over the Presidency of the international World Wildlife Fund to Prince Philip, Duke of Edinburgh.
In an interview published after his death, on 14 December 2004, Prince Bernhard admitted that he had accepted more than one million dollars (US) in bribes from Lockheed. He acknowledged it was a mistake and claimed that all of the money went to the WWF. He said: "I have accepted that the word Lockheed will be carved on my tombstone." He also confirmed having fathered two illegitimate daughters.
In February 2008, Joop den Uyl's biography claimed that the official report investigating the Lockheed bribe scandal also presented proof that the Prince had accepted money from yet another aerospace firm: Northrop. The former Prime Minister claimed he had not made the information public to protect the Dutch monarchy.
Project Lock
In 1988, Prince Bernhard and Princess Juliana sold two paintings from their personal collection to raise money for the World Wildlife Fund. The paintings sold for GBP700,000, which was deposited in a Swiss WWF bank account. In 1989, however, Charles de Haes, Director-General of the WWF, transferred GBP500,000 back to Bernhard, for what De Haes called a private project. In 1991, newspapers reported what this private project was: Prince Bernhard had hired KAS International, owned by Special Air Service founder Sir David Stirling, to use mercenaries – mostly British – to fight poachers in nature reserves. The paramilitary group infiltrated organisations profiting from illegal trade in ivory in order to arrest them.
This Project Lock seemed to have backfired enormously, however. The hired mercenaries had not only infiltrated the illegal trade, they were also participating in it.
In 1995, Nelson Mandela called upon the Kumleben Commission to investigate, among other things, the role of the WWF in apartheid-South Africa. In the report that followed, it was suggested that mercenaries from Project Lock had planned assassinations of ANC members and that mercenaries had been running training camps in the wildlife reserves, training fighters from the anti-communist groups UNITA and Renamo. Prince Bernhard was never accused of any crime in this context but the Project Lock scandal negatively impacted the Prince's reputation.
Additional controversies and rumours
Prince Bernhard garnered media attention when, on 30 October 2002, he paid the fines of two Albert Heijn supermarket staff members, who were convicted of assaulting a shoplifter after they detained him.
The 2009 publication HRH: High Stakes at the Court of His Royal Highness by historian Harry Veenendaal and journalist Jort Kelder alleges that the Prince in 1950 attempted to oust the young government of the newly founded Republic of Indonesia and place himself to lead the Islands as Viceroy similar to Lord Mountbatten's role in British India. This was particularly contentious as in 1949 the Netherlands had already officially recognised its former colony as an independent nation.
A 2016 biography by Jolande Withuis about his wife queen Juliana, titled Juliana, posited further rumours including that he had once sexually assaulted a minor, that he had refused to divorce the queen twice, and that later on during their final years in life he prohibited Juliana from seeing him.
Death
In 1994 the Prince had a colon tumor removed and suffered severe complications due to respiratory distress. In December, his daughter Queen Beatrix rushed to the hospital straight after landing from a trip to Africa. By Christmas the prospect of death had faded and spring the next year he recovered enough to go home. His health problems continued in 1998 when he had a prostate swelling and in 1999 when he suffered difficulties breathing and talking. He did, however, attend the wedding of his grandson, straight after having prostate surgery. In 2000, his life was endangered again when he suffered neurological complications and continued breathing problems. Two days after intensive medical (and media) attention the Royal Press Office issued a statement the Prince was reading newspapers again.
Over the following years Bernhard continued to appear at the military parades on the national liberation day celebrating the defeat of Nazi Germany. Only when his wife Juliana died in March 2004 did the Prince become exceedingly fragile. Up to the last moment it remained uncertain if he could attend the royal funeral, which he eventually managed to attend. He said his final farewells to his war comrades on Liberation Day in May and in November that same year he was diagnosed with untreatable cancer.
Prince Bernhard died of lung cancer at the age of 93 at University Medical Center Utrecht in Utrecht on 1 December 2004, two years after the death of his son-in-law Prince Claus; his death suffered from malignant lung and intestinal tumors. On 11 December 2004, he was interred with a state funeral at the Nieuwe Kerk, Delft. Bernhard's funeral was different from those of Prince Claus and Queen Juliana in that Bernhard's coffin was transported on the undercarriage of a cannon instead of in the traditional carriage used when the coffins of Prince Claus and Queen Juliana were transported to Delft. Together with the playing of many military marches and the forming of guards of honour by Second World War veterans this gave the funeral procession a military character as the late Prince, a Second World War veteran, had wished. As a final tribute to his former military role in the Royal Netherlands Air Force, three modern F-16 jet fighters and a World War II Spitfire plane performed a low flypast during the funeral in a classic missing man formation.
In popular culture
In the years after Bernhard died his life story has been the inspiration for literature, theatre, television and comic books. In 2010 fact and fiction of the life of Bernhard was portrayed in a Dutch television series. In a biographical dissertation by Dutch journalist and historian Annejet van der Zijl published in March 2010, Bernhard was called "a failure" in the history of the Dutch Royal Family and a "creature of his own myths".
Titles, styles and honours
Titles
29 June 1911 – 1916: Count Bernhard of Biesterfeld
1916 – 7 January 1937: His Serene Highness Prince Bernhard of Lippe-Biesterfeld
7 January 1937 – 6 September 1948: His Royal Highness Prince Bernhard of the Netherlands, Prince of Lippe-Biesterfeld
6 September 1948 – 30 April 1980: His Royal Highness The Prince of the Netherlands
30 April 1980 – 1 December 2004: His Royal Highness Prince Bernhard of the Netherlands, Prince of Lippe-Biesterfeld
Honours
National honours
Knight Commander of the Military William Order
Knight Grand Cross of the Order of the Netherlands Lion
Knight Grand Cross of the Order of Orange-Nassau
Grand Master Knight Commander of the Order of the Golden Ark, 1st Class
Knight Commander of the Order of St. John in the Netherlands
Recipient of the Airman's Cross
Recipient of the Queen Juliana Inauguration Medal
Foreign honours
: Grand Cross of the Order of the Liberator General San Martín
: Grand Star Decoration for Services to the Republic of Austria, Gold
: Knight Grand Cross of the Order of Leopold I
: Recipient of the War Cross Medal 1939–1945
: Grand Cross of the Order of the Southern Cross
: Grand Cross of the Order of Valour
: Grand Cross of the Order of the White Lion
: Recipient of the Czechoslovak War Cross 1939–1945
: Grand Cross of the Order of Merit
: Grand Cross of the Order of Boyaca, Special Class
: Knight of the Order of the Elephant
: Grand Cross of the Order of Merit of Duarte, Sánchez and Mella, Silver
: Grand Cross of the Order of Abdon Calderón
Ethiopian Imperial Family: Knight Grand Cordon with Collar of the Order of the Queen of Sheba
: Grand Cross of the Order of the White Rose of Finland
: Grand Cross of the Order of the Legion of Honour
: Commander of the Order of Academic Palms
: Recipient of the Aeronautical Medal
: Grand Cross of the Order of Merit of the Federal Republic of Germany, Special Issue
Greece
Greek Royal Family: Knight Grand Cross of the Order of George I
: Recipient of the 1940 War Cross Medal
: Grand Cross of the Order of Santa Rosa and of Civilisation
: Adipurna Grand Cross of the Order of the star of Mahaputera
Iranian Imperial Family: Knight Grand Cordon of the Order of the Lion and the Sun
Iranian Imperial Family: Recipient of the Commemorative Medal of the 2,500 year Celebration of the Persian Empire
: Grand Cross of the Order of Merit of the Italian Republic
: Grand Cross of the National Order of the Ivory Coast
: Knight Grand Cordon of the Order of the Rising Sun
: Grand Cross of the Order of the Pioneers of Liberia
: Knight Grand Cross of the Order of the Gold Lion of the House of Nassau
: Recipient of the War Cross Medal 1939–1945
: Grand Cross of the Order of the Aztec Eagle, Special Class
Nepal: Member Grand Cross of the Order of Ojaswi Rajanya
: Grand Cross of the Order of Rubén Darío, Special Class
: Knight Grand Cross of the Order of Saint Olav
: Grand Cross of the Order of Manuel Amador Guerrero
: Grand Cross of the Order of Merit, Special Class
: Grand Cross of the Order of the Sun of Peru
: Grand Cross of the Order of Military Virtue
: Grand Cross of the National Order of Merit
: Bailiff Knight Grand Cross of Honour and Devotion of the Sovereign Military Order of Malta
: Knight Grand Cross of the Order of Charles III
: Grand Cross of the Honorary Order of the Yellow Star
: Knight Grand Cross of the Royal Order of the Seraphim
: Knight Grand Cordon with Chain of the Order of the Royal House of Chakri
: Grand Cross of the Order of Independence
: Honorary Knight Grand Cross of the Order of the Bath
: Honorary Knight Grand Cross of the Royal Victorian Order
: Recipient of the France and Germany Star
: Recipient of the Defence Medal
: Recipient of the King George VI Coronation Medal
: Recipient of the Queen Elizabeth II Coronation Medal
: Officer of the Legion of Merit
: Grand Cross of the Order of the Liberator
: Grand Cross of the Order of Karađorđe's Star
Military ranks
Military ranks of the Armed forces of the Netherlands
Honorary military ranks of foreign armed forces
Ancestry
References
External links
1911 births
2004 deaths
20th-century Calvinist and Reformed Christians
Aide-de-camp to the Monarch of the Netherlands
Burials in the Royal Crypt at Nieuwe Kerk, Delft
Chairmen of the Steering Committee of the Bilderberg Group
Commanders-in-chief of the Armed Forces of the Netherlands
Converts to Calvinism from Lutheranism
Counts of Lippe
Counts of Lippe-Biesterfeld
Deaths from cancer in the Netherlands
Deaths from lung cancer
Deaths from stomach cancer
Dutch animal rights activists
Dutch conservationists
Dutch lobbyists
Dutch members of the Dutch Reformed Church
Dutch nonprofit directors
Dutch nonprofit executives
Dutch people of German descent
Dutch royal consorts
Engelandvaarders
German Calvinist and Reformed Christians
German Lutherans
German royalty
Grand Cordons of the Honorary Order of the Yellow Star
Grand Cordons of the Order of the Rising Sun
Grand Croix of the Légion d'honneur
Grand Crosses Special Class of the Order of Merit of the Federal Republic of Germany
Grand Crosses of the Order of George I
Grand Crosses of the Order of the Sun of Peru
Grand Crosses of the Order of the White Lion
Honorary air commodores
Honorary Knights Grand Cross of the Order of the Bath
Honorary Knights Grand Cross of the Royal Victorian Order
House of Lippe
House of Orange-Nassau
Humboldt University of Berlin alumni
Inspectors general
Knights Commander of the Military Order of William
Knights Grand Cross of the Order of Merit of the Italian Republic
Knights Grand Cross of the Order of Orange-Nassau
Knights of the Order of Saint John in the Netherlands
Knights of the Order of the Netherlands Lion
Lockheed bribery scandals
Members of the Council of State (Netherlands)
Members of the Steering Committee of the Bilderberg Group
National Socialist Motor Corps members
Military personnel from Jena
People from Saxe-Weimar-Eisenach
Political controversies in the Netherlands
Princes of Lippe
Princes of Lippe-Biesterfeld
Protestant Church Christians from the Netherlands
Recipients of the Airman's Cross
Recipients of the Czechoslovak War Cross
Recipients of the Order of Orange-Nassau
Royal Air Force air marshals
Royal Air Force personnel of World War II
Royal Australian Air Force officers
Royal Netherlands Air Force generals
Royal Netherlands Air Force personnel of World War II
Royal Netherlands Air Force pilots
Royal Netherlands Army generals
Royal Netherlands Army personnel of World War II
Royal Netherlands East Indies Army generals
Royal Netherlands East Indies Army officers
Royal Netherlands East Indies Army personnel of World War II
Royal Netherlands Navy admirals
Royal Netherlands Navy personnel of World War II
University of Lausanne alumni
World Wide Fund for Nature
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[
"Princess Marie of Schwarzburg-Rudolstadt (; 29 January 1850 – 22 April 1922) was the consort and third wife of Frederick Francis II, Grand Duke of Mecklenburg-Schwerin. She was mother of Prince Hendrik, consort of Queen Wilhelmina of the Netherlands and father of Queen Juliana.\n\nEarly life\nPrincess Marie of Schwarzburg-Rudolstadt, the first child of Prince Adolph of Schwarzburg-Rudolstadt, and his wife, Princess Mathilde of Schönburg-Waldenburg, was born at Raben Steinfeld, Mecklenburg-Schwerin. Her paternal great-grandfathers were Frederick Charles, Prince of Schwarzburg-Rudolstadt and Frederick V, Landgrave of Hesse-Homburg.\n\nHer family belonged to the Principality of Schwarzburg-Rudolstadt\n\nMarriage\nOn 4 July 1868 in Rudolstadt, Schwarzburg-Rudolstadt, Marie married Frederick Francis II, Grand Duke of Mecklenburg-Schwerin, son of Paul Frederick, Grand Duke of Mecklenburg-Schwerin. Previously, Frederick Francis had been married twice: In 1849, he married Princess Augusta Reuss of Köstritz but she died in 1862. Two years later, Frederick Francis married secondly to Princess Anna of Hesse and by Rhine but less than a year after their marriage, Anna also died. At the time of the marriage, Frederick Francis was 45 and Marie 18. Together they had four children:\n\nDuchess Elisabeth Alexandrine of Mecklenburg-Schwerin (10 August 1869 – 3 September 1955) she married Frederick Augustus II, Grand Duke of Oldenburg on 24 October 1896. They had five children.\nDuke Friedrich Willhelm of Mecklenburg (5 April 1871 – 22 September 1897)\nDuke Adolf Friedrich of Mecklenburg (10 October 1873 – 5 August 1969) he married Princess Viktoria Feodora of Reuss-Schleiz on 24 April 1917. They had one daughter, Woizlawa Feodora. He remarried Princess Elisabeth of Stolberg-Rossla on 15 October 1924. \nDuke Henry of Mecklenburg-Schwerin (19 April 1876 – 3 July 1934) he married Wilhelmina of the Netherlands on 7 February 1901. They had one surviving child, Juliana of the Netherlands.\n\nDeath\nMarie died in 1922 in The Hague. She was in The Hague to congratulate Prince Henry on his 46th birthday. The royal hearse brought the body from Noordeinde Palace to the railway station. The coffin then went by train to Germany, where the princess was buried.\n\nAncestry\n\nReferences\n\nthePeerage.com Marie Prinzessin von Schwarzburg-Rudolstadt\n\n|-\n\n1850 births\n1922 deaths\nPeople from Ludwigslust-Parchim\nPrincesses of Schwarzburg\nGrand Duchesses of Mecklenburg-Schwerin\nDuchesses of Mecklenburg-Schwerin",
"Juliana Sophia Schierberg, known as Julianchen (died 1712) was a Swedish favorite. She was the personal chamber maid and influential confidante of Princess Hedvig Sophia of Sweden and known for her influence and political activity.\n\nJuliana Schierberg was employed as a chamber maid to Queen Ulrika Eleonora in 1681, and was given the same position to the eldest Princess, Hedvig Sophia, upon the death of the queen in 1693. She had a similar position with Hedvig Sophia as Emerentia von Düben had with the younger Princess, Ulrika Eleonora of Sweden, and acted as the political adviser of the Princess. \n\nVarious foreign diplomats contributed the fact that the marriage alliance between Denmark and Sweden, which was to take place with a marriage between Hedvig Sophia and Prince Charles of Denmark and Charles XII of Sweden and Princess Sophia Hedwig of Denmark, did not take place, was because of her influence, as was that the fact Hedvig Sophia did not marry William III of England but the Duke of Holstein in 1698. \n\nIn 1702, she played the same important part in the marriage negotiations regarding the expected new marriage of Hedvig Sophia after her widowhood. Juliana Schierberg reportedly accepted bribes and had a net of spies to work for the benefit of the Princess, and influential people unsuccessfully tried to have her removed from court because of her influence. In 1708, a party consisting of Fritze, a favorite servant of Hedvig Sophia, and the two ladies-in-waiting Maria Horn and Charlotta von Liewen tried to have her removed from court by saying to the Princess that Schierberg had become senile, but as Schierberg as a chamber maid slept in the same room as the Princess and had access to her all the time this did not succeed. \n\nIn 1708, Hedvig Sophia died of smallpox. Gossip accused Schierberg to have caused her death by exposing her to superstitious medical treatments and letting no one in to the sickbed of the Princess except Maria Horn, neither the överhovmästarinna Märta Berendes nor the doctor. \nJuliana Schierberg retired with a fortune after the death of Hedvig Sophia, which is proven by the fact that she was able to donate a great sum to finance the Great Nordic War in 1710.\n\nReferences\n Fabian Persson (1999). Servants of Fortune. The Swedish court between 1598 and 1721. Lund: Wallin & Dalholm. \n Anteckningar om svenska qvinnor /\n Berättelser ur svenska historien / 21. Karl den tolftes historia. H. 1. Karl den tolftes ungdoms- och fredsår, hans första krigsår samt afsättnings-fejden mot konung August /\n Berättelser ur svenska historien / 24. Karl den tolftes regering. H. 4. Sverige och svenskarna under konungens frånvaro 1700-1712 /\n https://archive.org/stream/berttelserursv27fryxuoft/berttelserursv27fryxuoft_djvu.txt\n\n1712 deaths\n18th-century Swedish people\nRoyal favourites\nYear of birth unknown\nPeople of the Swedish Empire\nGovernesses to the Swedish monarchy\nSwedish royal favourites"
] |
[
"Prince Bernhard of Lippe-Biesterfeld",
"Marriage and children",
"Was he married?",
"they were married at The Hague on 7 January 1937.",
"Who was he married to?",
"Princess Juliana",
"Did they have any children?",
"Prince Bernhard was father of six children,",
"Did either him or Juliana have children outside of the marriage?",
"He had two illegitimate daughters.",
"Where they conceived before his marriage to Princess Juliana?",
"The first is Alicia von Bielefeld (born 21 June 1952),"
] |
C_6a2082aebb474143978bf0f0adc8d517_1
|
Who was the second daughter?
| 6 |
Who was the second illegitimate daughter of Prince Bernhard of Lippe-Biesterfeld?
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Prince Bernhard of Lippe-Biesterfeld
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Bernhard met then-Princess Juliana at the 1936 Winter Olympics at Garmisch-Partenkirchen. Juliana's mother, Queen Wilhelmina, had spent most of the 1930s looking for a suitable husband for Juliana. As a Protestant of royal rank (the Lippe-Biesterfelds were a sovereign house in the German Empire), Bernhard was acceptable for the devoutly religious Wilhelmina. Wilhelmina left nothing to chance, and had her lawyers draft a very detailed prenuptial agreement that specified exactly what Bernhard could and could not do. The couple's engagement was announced on 8 September 1936, and they were married at The Hague on 7 January 1937. Earlier, Bernhard had been granted Dutch citizenship, and changed the spelling of his names from German to Dutch. Previously styled as Serene Highness, he became a Royal Highness by Dutch Law. His appropriateness as consort of the future Queen would later become a matter of some public debate. Prince Bernhard was father of six children, four of them with Queen Juliana. The eldest daughter is Princess Beatrix, former Queen of the Netherlands, (1938). His other daughters with Juliana are Irene (1939), Margriet (1943) and Christina (1947). He had two illegitimate daughters. The first is Alicia von Bielefeld (born 21 June 1952), whose mother has not been identified. She is a landscape architect and lives in the United States. Prince Bernhard's sixth daughter, Alexia Grinda (a.k.a. Alexia Lejeune or Alexia Grinda-Lejeune, born in Paris on 10 July 1967), is his child by the French socialite and fashion model Helene Grinda. Although rumours about these two children had already spread, it was made official after his death. In December 2008, Dutch historian Cees Fasseur claimed that former British Conservative Cabinet Minister Jonathan Aitken was the result of a wartime affair between Prince Bernhard and Aitken's mother, previously Penelope Maffey. CANNOTANSWER
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Prince Bernhard's sixth daughter, Alexia Grinda (a.k.a. Alexia Lejeune or Alexia Grinda-Lejeune, born in Paris on 10 July 1967
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Prince Bernhard of Lippe-Biesterfeld (later Prince Bernhard of the Netherlands, ; 29 June 1911 – 1 December 2004) was a German-born nobleman who was the consort to Queen Juliana of the Netherlands; they were the parents of four children, including Beatrix, who was Queen of the Netherlands from 1980 to 2013.
He belonged to the princely House of Lippe and was a nephew of the Principality of Lippe's last sovereign Leopold IV. From birth he held the title Count of Biesterfeld; his uncle raised him to princely rank with the style of Serene Highness in 1916. He studied law and worked as an executive secretary at the Paris office of IG Farben. In 1937 he married Princess Juliana of the Netherlands and was immediately given the title Prince of the Netherlands with the style of Royal Highness. Upon his wife's accession to the throne in 1948, he became the prince consort of the Netherlands.
Although his private life was rather controversial, Prince Bernhard was still generally regarded as a popular figure by the majority of the Dutch for his performance as a combat pilot and his activities as a liaison officer and personal aide to Queen Wilhelmina during World War II, and for his work during post-war reconstruction. During World War II, he was part of the London-based Allied war planning councils. He saw active service as a Wing Commander (RAF), flying both fighter and bomber planes into combat. He was a Dutch general and Supreme Commander of the Dutch Armed forces, involved in negotiating the terms of surrender of the German Army in the Netherlands. For proven bravery, leadership and loyalty during his wartime efforts, he was appointed a Commander of the Military William Order, the Netherlands' oldest and highest honour. After the war he was made Honorary Air Marshal of the Royal Air Force by Queen Elizabeth II of the United Kingdom. In 1969, Bernhard was awarded the Grand Cross (Special Class) of the Order of Merit of the Federal Republic of Germany.
Bernhard helped found the World Wildlife Fund (later renamed World Wide Fund for Nature), becoming its first president in 1961. In 1970, along with Prince Philip, Duke of Edinburgh and other associates, he established the WWF's financial endowment "The 1001: A Nature Trust". In 1954, he was a co-founder of the international Bilderberg Group, which has met annually since then to discuss corporate globalisation and other issues concerning Europe and North America. He was forced to step down from both groups after being involved in the Lockheed Bribery Scandal in 1976.
Early life
Bernhard was born Bernhard Leopold Friedrich Eberhard Julius Kurt Karl Gottfried Peter, Count of Biesterfeld in Jena, Saxe-Weimar-Eisenach, German Empire on 29 June 1911, the elder son of Prince Bernhard of Lippe and his wife, Baroness Armgard von Sierstorpff-Cramm. He was a grandson of Ernest, Count of Lippe-Biesterfeld, who was regent of the Principality of Lippe until 1904. He was also a nephew of the principality's last sovereign, Leopold IV, Prince of Lippe.
Because his parents' marriage did not conform with the marriage laws of the House of Lippe, it was initially deemed morganatic, so Bernhard was granted only the title of Count of Biesterfeld at birth. He and his brother could succeed to the Lippian throne only if the entire reigning House became extinct. In 1916, his uncle Leopold IV as reigning Prince raised Bernhard and his mother to Prince and Princess of Lippe-Biesterfeld, thereby retroactively according his parents' marriage dynastic status. The suffix Biesterfeld was revived to mark the beginning of a new cadet line of the House of Lippe.
After World War I, Bernhard's family lost their German Principality and the revenue that had accompanied it. But the family was still reasonably well-off. Bernhard spent his early years at Reckenwalde castle (Wojnowo, Poland), the family's new estate in East Brandenburg, thirty kilometres east of the River Oder. He was taught privately and received his early education at home. When he was twelve, he was sent to board at the Gymnasium in Züllichau (Sulechów). Several years later he was sent to board at a Gymnasium in Berlin, from which he graduated in 1929.
Bernhard suffered from poor health as a boy. Doctors predicted that he would not live very long. This prediction might have inspired Bernhard's reckless driving and the risks that he took in the Second World War and thereafter. The prince wrecked several cars and planes in his lifetime.
Bernhard studied law at the University of Lausanne, Switzerland and in Berlin. In the latter city, he also acquired a taste for fast cars, horse riding, and big-game hunting safaris. He was nearly killed in a boating accident and an aeroplane crash. He suffered a broken neck and crushed ribs in a 160 km/h (100 mph) car crash in 1938.
While at university, Bernhard joined the Nazi Party. He also enrolled in the Sturmabteilung (SA), which he left in December 1934 when he graduated and went to work for IG Farben. The Prince later denied that he had belonged to SA, to the Reiter-SS (SS Cavalry Corps), and to the NSKK, but these are well-documented memberships. While he was not a fierce champion of democracy, the Prince was never known to hold any radical political views or express any racist sentiments, although he admitted that he briefly had sympathised with Adolf Hitler's regime.
The Prince eventually went to work for the German chemical giant IG Farben in the early 1930s, then the world's fourth-largest company. (It survives today as BASF, AGFA, and Bayer). He joined the statistics department of IG Farben's Berlin N.W. 7 department, the key Nazi overseas espionage center (known as VOWI) that evolved into the economic intelligence arm of the Wehrmacht. He lodged with Count Paul von Kotzebue (1884-1966), an exiled Russian nobleman of German descent, and his wife Allene Tew, who was born in the United States. After training, Bernhard became secretary in 1935 to the board of directors at the Paris office.
Marriage and children
Bernhard met then-Princess Juliana at the 1936 Winter Olympics at Garmisch-Partenkirchen. Juliana's mother, Queen Wilhelmina, had spent most of the 1930s looking for a suitable husband for Juliana. As a Protestant of royal rank (the Lippes were a sovereign house in the German Empire), Bernhard was deemed acceptable for the devoutly religious Wilhelmina. They were distantly related, 7th cousins in particular, both descending from Lebrecht, Prince of Anhalt-Zeitz-Hoym. Wilhelmina left nothing to chance, and had her lawyers draft a very detailed prenuptial agreement that specified exactly what Bernhard could and could not do. The couple's engagement was announced on 8 September 1936, and they were married at The Hague on 7 January 1937. Earlier, Bernhard had been granted Dutch citizenship and changed the spelling of his names from German to Dutch. Previously styled as Serene Highness, he became a Royal Highness by Dutch law. His appropriateness as consort of the future Queen would later become a matter of some public debate.
Prince Bernhard fathered six children, four of them with Queen Juliana. The eldest daughter is Beatrix, (born 1938), who later became Queen of the Netherlands. His other daughters with Juliana are Irene (born 1939), Margriet (born 1943) and Christina (1947–2019).
He had two "natural", or illegitimate, daughters. The first is Alicia von Bielefeld (born in San Francisco on 21 June 1952), whose mother has been identified as Alicia Webber, a 19 years old German national, illegitimate daughter of German aviator and test pilot Hanna Reitsch. Von Bielefeld has become a landscape architect and lives in the United States. His sixth daughter, Alexia Grinda (a.k.a. Alexia Lejeune or Alexia Grinda-Lejeune, born in Paris on 10 July 1967), is his child by Hélène Grinda, a French socialite and fashion model. Although rumours about these two children were already widespread, their status as his daughters was made official after his death. In December 2008, Dutch historian Cees Fasseur claimed that Jonathan Aitken, former British Conservative Cabinet Minister, was also a child of Prince Bernhard, the result of his wartime affair with Penelope Maffey.
Attitudes to Nazi Germany
Prince Bernhard was a member of the "Reiter-SS", a mounted unit of the SS and had joined the Nazi party before the war. He later also joined the National Socialist Motor Corps.
Various members of his family and friends were aligned with the Nazis prior to the Second World War, and a number of them attended the royal wedding. Protocol demanded that the prospective Prince-Consort be invited to an audience with his head of state, who at the time was Adolf Hitler. Hitler gave an account of the conversation he had with Bernhard in his Tischgespräche (Table Conversations). This book was a collection of monologues, remarks, and speeches Hitler gave during lunch or dinner to those he had invited.
The Prince's brother, Prince Aschwin of Lippe-Biesterfeld, was an officer in the German Army. Although the secret services on both sides were interested in this peculiar pair of brothers, no improper contacts or leaks of information were ever discovered. He cut off relations with those members of his family who were enthusiastic Nazis. As a sign of his "Dutchness", near the end of the war, he spoke only Dutch when negotiating the surrender of German forces in the Netherlands.
Second World War
At the outset of the Second World War, during the German invasion of the Netherlands, the Prince, carrying a machine gun, organised the palace guards into a combat group and shot at German warplanes. The Royal family fled the Netherlands and took refuge in England. Disagreeing with Queen Wilhelmina's decision to leave the Kingdom, the young Prince Consort, aged 28, is said at first to have refused to go and to have wanted to oppose the Nazi occupation from within the country. However, in the end, he agreed to join his wife and became head of the Royal Military Mission based in London. His wife Princess Juliana and their children continued on to Canada, where they remained until the end of the war.
In England, Prince Bernhard asked to work in British Intelligence. The War Admiralty, and later General Eisenhower's Allied Command offices, did not trust him enough to allow him access to sensitive intelligence information. On the recommendation of Bernhard's friend and admirer King George VI, however, who was also of German aristocratic descent through his mother Mary of Teck and his great-grandfather Prince Albert, and after Bernhard was personally screened by British intelligence officer Ian Fleming at the behest of Churchill, he was later given work to do in the Allied War Planning Councils.
"For Bernhard, the Prince of the Netherlands, the war was a frustrating business. Born a German, he had married Queen Wilhelmina's only child, Princess Juliana, and in due time made a conscious and meaningful transition of loyalties to his new homeland. Because of this, and in view of the doubts his background initially evoked among some Britons, he longed more than anyone for a chance to get at Holland's aggressors." Erik Hazelhoff Roelfzema aka "Soldier of Orange", decorated war hero.
On 25 June 1940, three days after France fell to the German war machine, Bernhard spoke on the Overseas Service of the BBC. He called Hitler a German tyrant and expressed his confidence that Britain would defeat the Third Reich.
In 1940, Flight Lieutenant Murray Payne gave the prince instruction in flying a Spitfire. The prince made 1,000 flight-hours in a Spitfire with the RAF's No. 322 (Dutch) Squadron RAF, wrecking two planes during landings. He remained an active pilot throughout his life and flew his last aeroplane 53 years later, with his grandson and heir to the throne, who inherited his passion for flying.
In 1941, Prince Bernhard was given the honorary rank of wing commander in the Royal Air Force. As "Wing Commander Gibbs (RAF)", Prince Bernhard flew over occupied Europe, attacking V-1 launch pads in a B-24 Liberator, bombing Pisa, and engaging submarines over the Atlantic in a B-25 Mitchell, and conducting reconnaissance over enemy-held territory in an L-5 Grasshopper. Prince Bernhard was awarded the Dutch Airman's Cross for his "ability and perseverance" (Dutch: "bekwaamheid en volharding"). In 1941 he also received a promotion to Honorary Air Commodore.
He also helped organise the Dutch resistance movement and acted as the personal secretary for Queen Wilhelmina.
Queen Wilhelmina erased the style "honorary" (the exact words were "à la suite") in the decree promoting Bernhard to General. In this unconstitutional manner, she gave this Royal Prince a status that was never intended by either Parliament or her Ministers. The Minister of Defence did not choose to correct the Monarch, and the Prince took an active and important role in the Dutch Armed forces.
By 1944, Prince Bernhard became Commander of the Dutch Armed Forces. After the liberation of the Netherlands, he returned with his family and became active in the negotiations for the German surrender. He was present during the Armistice negotiations and German surrender at Hotel de Wereld ("The World Hotel"), Wageningen in The Netherlands on 5 May 1945, where he avoided speaking German.
The Prince was a genuine war hero in the eyes of most of the Dutch; he kept cordial relations with the Communists who fought against the Nazis. In the post-war years, he earned respect for his work in helping to reinvigorate the economy of the Netherlands.
Postwar roles
After the War, the position of Inspector General was created for the Prince.
On the 4th of September 1948, his mother in law Queen Wilhelmina abdicated the throne and Juliana became Queen of the Netherlands and Bernhard became Prince Consort of the Netherlands. He was made a member of the boards of supervisors of Fokker Aircraft and KLM Royal Dutch Airlines, and within a few years he had been invited to serve as an adviser or non-executive director of numerous corporations and institutions. There have been claims that KLM helped Nazis to leave Germany for Argentina on KLM flights while Bernhard was on its board. After a 1952 trip with Queen Juliana to the United States, Prince Bernhard was heralded by the media as a business ambassador extraordinaire for the Netherlands.
With his global contacts having been approached by the secretive Polish diplomat, Józef Retinger, in May 1954 Bernhard was a key figure in organising a meeting at the Bilderberg Hotel in the Netherlands for the business elite and intellectuals of the Western World to discuss the economic problems in the face of what they characterised as the growing threat from Communism. This first meeting was successful, and it became an annual gathering known as the Bilderberg Group. The idea for the European Union, first proposed by Robert Schuman on 9 May 1950, was encouraged at Bilderberg.
Prince Bernhard was a very outspoken person who often flouted protocol by remarking upon subjects about which he felt deeply. Almost until his last day, he called for more recognition for the Polish veterans of the Second World War, who had figured greatly in the liberation of the Netherlands. But it was not until after his death that the Dutch Government publicly recognised the important role of the Polish Army in the liberation: on 31 May 2006, at the Binnenhof in The Hague, Queen Beatrix conferred the Military William Order, the highest Dutch military decoration, on the Polish 1st Independent Parachute Brigade. The award is now worn by the 6th Airborne Brigade which inherited the battle honours of the brigade.
Friendships and international connections
Prince Bernhard was seen as a jet-setting and charismatic ambassador for the Dutch during post-war reconstruction. Because of his connections, Prince Bernhard reportedly maintained friendships with several high-profile international figures. They included Nelson Mandela, David Rockefeller, Mohammad Reza Pahlavi, Ian Fleming, and Walter Bedell Smith.
Scandals and rumours
Hofmans Affair
In the mid-1950s, Queen Juliana and Prince Bernhard's marriage faced significant strain because of the ongoing influence of Greet Hofmans, a faith healer and layer-on of hands. For nine years she acted as a confidante and adviser to Queen Juliana, often residing at Palace Soestdijk. Originally, Hofmans was introduced to Queen Juliana at the initiative of Prince Bernhard in 1948 to treat an eye illness of their youngest daughter, Princess Christina (then still called Marijke). This illness arose because Juliana was infected with rubella during pregnancy. Hofmans developed a great influence on the Queen, encouraging pacifist ideas. In the period of the Cold War, this caused a crisis in the Royal Household.
While the Dutch press did not report widely on the issue, outside the Netherlands, a great deal was written about the Hofmans affair. On 13 June 1956, an article was published in the German magazine Der Spiegel, titled "Zwischen Königin und Rasputin" – "between the Queen and her Rasputin". It portrayed Hofmans in a less-than-flattering way. Later, Bernhard admitted that he had personally provided the information for the article. Observers said that, in doing so, he hoped to have Hofmans removed from the court. In the face of escalating tensions, the Prime Minister, Willem Drees appointed a committee of "three wise men" (elder statesmen) to advise the royal couple. Hofmans was banished as were various allies and supporters who had grown to prominence within the Royal Household.
In 2008 the report of the "three wise men" was made public. Historian Cees Fasseur drew from it for his book, Juliana & Bernhard (2008); in addition, the Queen had granted him access to the private royal archive. He noted that Bernhard was reprimanded in 1956 for having leaked confidential information to the international press. Fasseur said that Bernhard resorted to bringing in the international press only after repeated, desperate and often dramatic pleading with his wife to distance herself from the Hofmans group. Fasseur wrote:
"Bernard was obviously a free spirited chap, who independently went about his business. But he was still very much a family man. I got the feeling he was the only one that was seeing things were getting completely out of hand and tried to salvage the situation as much as he could."
Lockheed scandal
Scandal rocked the Royal family in 1976 when the press reported that Prince Bernhard had accepted a US$1.1 million bribe from U.S. aircraft manufacturer Lockheed Corporation to influence the Dutch government's purchase of fighter aircraft. At the time he had served on more than 300 corporate boards and committees worldwide and had been praised in the Netherlands for his efforts to promote the economic well-being of the country. Prime Minister of the Netherlands Joop den Uyl ordered an inquiry into the Lockheed affair. Prince Bernhard refused to answer reporters' questions, stating: "I am above such things".
The Dutch and international press headlined the stories for months. They also brought up records of Prince Bernhard's Reiter SS membership and details of his numerous extramarital affairs. They noted he had purchased a luxurious Paris apartment for his mistress Hélène Grinda (granddaughter of Édouard Grinda), with whom he had a daughter, Alexia, who was illegitimate. Bernhard had an older illegitimate daughter, Alicia, born in the United States (with a German pilot whom he met in Mexico in 1951).
On 26 August 1976, a full report of Prince Bernhard's activities was released to a shocked Dutch public. The Prince's own letter of 1974, to Lockheed Corporation, was publicised; he had demanded "commissions" be paid to him on Dutch government aircraft purchases. This was very damaging evidence of improper conduct by the man who was Inspector-General of the Dutch Armed Forces. Out of respect for Queen Juliana, the government did not press charges against Bernhard.
Prince Bernhard resigned as Inspector-General of the Dutch Armed Forces. He was no longer officially allowed to wear a uniform in public. But a few years later, he was in full military dress when he attended the 1979 funeral of Lord Mountbatten in London.
Prime Minister Joop den Uyl made a statement in Parliament and told the delegates that the Prince would also resign from his various high-profile positions in businesses, charities, and other institutions. The Dutch States-General voted against criminal prosecution. Prince Bernhard turned over the Presidency of the international World Wildlife Fund to Prince Philip, Duke of Edinburgh.
In an interview published after his death, on 14 December 2004, Prince Bernhard admitted that he had accepted more than one million dollars (US) in bribes from Lockheed. He acknowledged it was a mistake and claimed that all of the money went to the WWF. He said: "I have accepted that the word Lockheed will be carved on my tombstone." He also confirmed having fathered two illegitimate daughters.
In February 2008, Joop den Uyl's biography claimed that the official report investigating the Lockheed bribe scandal also presented proof that the Prince had accepted money from yet another aerospace firm: Northrop. The former Prime Minister claimed he had not made the information public to protect the Dutch monarchy.
Project Lock
In 1988, Prince Bernhard and Princess Juliana sold two paintings from their personal collection to raise money for the World Wildlife Fund. The paintings sold for GBP700,000, which was deposited in a Swiss WWF bank account. In 1989, however, Charles de Haes, Director-General of the WWF, transferred GBP500,000 back to Bernhard, for what De Haes called a private project. In 1991, newspapers reported what this private project was: Prince Bernhard had hired KAS International, owned by Special Air Service founder Sir David Stirling, to use mercenaries – mostly British – to fight poachers in nature reserves. The paramilitary group infiltrated organisations profiting from illegal trade in ivory in order to arrest them.
This Project Lock seemed to have backfired enormously, however. The hired mercenaries had not only infiltrated the illegal trade, they were also participating in it.
In 1995, Nelson Mandela called upon the Kumleben Commission to investigate, among other things, the role of the WWF in apartheid-South Africa. In the report that followed, it was suggested that mercenaries from Project Lock had planned assassinations of ANC members and that mercenaries had been running training camps in the wildlife reserves, training fighters from the anti-communist groups UNITA and Renamo. Prince Bernhard was never accused of any crime in this context but the Project Lock scandal negatively impacted the Prince's reputation.
Additional controversies and rumours
Prince Bernhard garnered media attention when, on 30 October 2002, he paid the fines of two Albert Heijn supermarket staff members, who were convicted of assaulting a shoplifter after they detained him.
The 2009 publication HRH: High Stakes at the Court of His Royal Highness by historian Harry Veenendaal and journalist Jort Kelder alleges that the Prince in 1950 attempted to oust the young government of the newly founded Republic of Indonesia and place himself to lead the Islands as Viceroy similar to Lord Mountbatten's role in British India. This was particularly contentious as in 1949 the Netherlands had already officially recognised its former colony as an independent nation.
A 2016 biography by Jolande Withuis about his wife queen Juliana, titled Juliana, posited further rumours including that he had once sexually assaulted a minor, that he had refused to divorce the queen twice, and that later on during their final years in life he prohibited Juliana from seeing him.
Death
In 1994 the Prince had a colon tumor removed and suffered severe complications due to respiratory distress. In December, his daughter Queen Beatrix rushed to the hospital straight after landing from a trip to Africa. By Christmas the prospect of death had faded and spring the next year he recovered enough to go home. His health problems continued in 1998 when he had a prostate swelling and in 1999 when he suffered difficulties breathing and talking. He did, however, attend the wedding of his grandson, straight after having prostate surgery. In 2000, his life was endangered again when he suffered neurological complications and continued breathing problems. Two days after intensive medical (and media) attention the Royal Press Office issued a statement the Prince was reading newspapers again.
Over the following years Bernhard continued to appear at the military parades on the national liberation day celebrating the defeat of Nazi Germany. Only when his wife Juliana died in March 2004 did the Prince become exceedingly fragile. Up to the last moment it remained uncertain if he could attend the royal funeral, which he eventually managed to attend. He said his final farewells to his war comrades on Liberation Day in May and in November that same year he was diagnosed with untreatable cancer.
Prince Bernhard died of lung cancer at the age of 93 at University Medical Center Utrecht in Utrecht on 1 December 2004, two years after the death of his son-in-law Prince Claus; his death suffered from malignant lung and intestinal tumors. On 11 December 2004, he was interred with a state funeral at the Nieuwe Kerk, Delft. Bernhard's funeral was different from those of Prince Claus and Queen Juliana in that Bernhard's coffin was transported on the undercarriage of a cannon instead of in the traditional carriage used when the coffins of Prince Claus and Queen Juliana were transported to Delft. Together with the playing of many military marches and the forming of guards of honour by Second World War veterans this gave the funeral procession a military character as the late Prince, a Second World War veteran, had wished. As a final tribute to his former military role in the Royal Netherlands Air Force, three modern F-16 jet fighters and a World War II Spitfire plane performed a low flypast during the funeral in a classic missing man formation.
In popular culture
In the years after Bernhard died his life story has been the inspiration for literature, theatre, television and comic books. In 2010 fact and fiction of the life of Bernhard was portrayed in a Dutch television series. In a biographical dissertation by Dutch journalist and historian Annejet van der Zijl published in March 2010, Bernhard was called "a failure" in the history of the Dutch Royal Family and a "creature of his own myths".
Titles, styles and honours
Titles
29 June 1911 – 1916: Count Bernhard of Biesterfeld
1916 – 7 January 1937: His Serene Highness Prince Bernhard of Lippe-Biesterfeld
7 January 1937 – 6 September 1948: His Royal Highness Prince Bernhard of the Netherlands, Prince of Lippe-Biesterfeld
6 September 1948 – 30 April 1980: His Royal Highness The Prince of the Netherlands
30 April 1980 – 1 December 2004: His Royal Highness Prince Bernhard of the Netherlands, Prince of Lippe-Biesterfeld
Honours
National honours
Knight Commander of the Military William Order
Knight Grand Cross of the Order of the Netherlands Lion
Knight Grand Cross of the Order of Orange-Nassau
Grand Master Knight Commander of the Order of the Golden Ark, 1st Class
Knight Commander of the Order of St. John in the Netherlands
Recipient of the Airman's Cross
Recipient of the Queen Juliana Inauguration Medal
Foreign honours
: Grand Cross of the Order of the Liberator General San Martín
: Grand Star Decoration for Services to the Republic of Austria, Gold
: Knight Grand Cross of the Order of Leopold I
: Recipient of the War Cross Medal 1939–1945
: Grand Cross of the Order of the Southern Cross
: Grand Cross of the Order of Valour
: Grand Cross of the Order of the White Lion
: Recipient of the Czechoslovak War Cross 1939–1945
: Grand Cross of the Order of Merit
: Grand Cross of the Order of Boyaca, Special Class
: Knight of the Order of the Elephant
: Grand Cross of the Order of Merit of Duarte, Sánchez and Mella, Silver
: Grand Cross of the Order of Abdon Calderón
Ethiopian Imperial Family: Knight Grand Cordon with Collar of the Order of the Queen of Sheba
: Grand Cross of the Order of the White Rose of Finland
: Grand Cross of the Order of the Legion of Honour
: Commander of the Order of Academic Palms
: Recipient of the Aeronautical Medal
: Grand Cross of the Order of Merit of the Federal Republic of Germany, Special Issue
Greece
Greek Royal Family: Knight Grand Cross of the Order of George I
: Recipient of the 1940 War Cross Medal
: Grand Cross of the Order of Santa Rosa and of Civilisation
: Adipurna Grand Cross of the Order of the star of Mahaputera
Iranian Imperial Family: Knight Grand Cordon of the Order of the Lion and the Sun
Iranian Imperial Family: Recipient of the Commemorative Medal of the 2,500 year Celebration of the Persian Empire
: Grand Cross of the Order of Merit of the Italian Republic
: Grand Cross of the National Order of the Ivory Coast
: Knight Grand Cordon of the Order of the Rising Sun
: Grand Cross of the Order of the Pioneers of Liberia
: Knight Grand Cross of the Order of the Gold Lion of the House of Nassau
: Recipient of the War Cross Medal 1939–1945
: Grand Cross of the Order of the Aztec Eagle, Special Class
Nepal: Member Grand Cross of the Order of Ojaswi Rajanya
: Grand Cross of the Order of Rubén Darío, Special Class
: Knight Grand Cross of the Order of Saint Olav
: Grand Cross of the Order of Manuel Amador Guerrero
: Grand Cross of the Order of Merit, Special Class
: Grand Cross of the Order of the Sun of Peru
: Grand Cross of the Order of Military Virtue
: Grand Cross of the National Order of Merit
: Bailiff Knight Grand Cross of Honour and Devotion of the Sovereign Military Order of Malta
: Knight Grand Cross of the Order of Charles III
: Grand Cross of the Honorary Order of the Yellow Star
: Knight Grand Cross of the Royal Order of the Seraphim
: Knight Grand Cordon with Chain of the Order of the Royal House of Chakri
: Grand Cross of the Order of Independence
: Honorary Knight Grand Cross of the Order of the Bath
: Honorary Knight Grand Cross of the Royal Victorian Order
: Recipient of the France and Germany Star
: Recipient of the Defence Medal
: Recipient of the King George VI Coronation Medal
: Recipient of the Queen Elizabeth II Coronation Medal
: Officer of the Legion of Merit
: Grand Cross of the Order of the Liberator
: Grand Cross of the Order of Karađorđe's Star
Military ranks
Military ranks of the Armed forces of the Netherlands
Honorary military ranks of foreign armed forces
Ancestry
References
External links
1911 births
2004 deaths
20th-century Calvinist and Reformed Christians
Aide-de-camp to the Monarch of the Netherlands
Burials in the Royal Crypt at Nieuwe Kerk, Delft
Chairmen of the Steering Committee of the Bilderberg Group
Commanders-in-chief of the Armed Forces of the Netherlands
Converts to Calvinism from Lutheranism
Counts of Lippe
Counts of Lippe-Biesterfeld
Deaths from cancer in the Netherlands
Deaths from lung cancer
Deaths from stomach cancer
Dutch animal rights activists
Dutch conservationists
Dutch lobbyists
Dutch members of the Dutch Reformed Church
Dutch nonprofit directors
Dutch nonprofit executives
Dutch people of German descent
Dutch royal consorts
Engelandvaarders
German Calvinist and Reformed Christians
German Lutherans
German royalty
Grand Cordons of the Honorary Order of the Yellow Star
Grand Cordons of the Order of the Rising Sun
Grand Croix of the Légion d'honneur
Grand Crosses Special Class of the Order of Merit of the Federal Republic of Germany
Grand Crosses of the Order of George I
Grand Crosses of the Order of the Sun of Peru
Grand Crosses of the Order of the White Lion
Honorary air commodores
Honorary Knights Grand Cross of the Order of the Bath
Honorary Knights Grand Cross of the Royal Victorian Order
House of Lippe
House of Orange-Nassau
Humboldt University of Berlin alumni
Inspectors general
Knights Commander of the Military Order of William
Knights Grand Cross of the Order of Merit of the Italian Republic
Knights Grand Cross of the Order of Orange-Nassau
Knights of the Order of Saint John in the Netherlands
Knights of the Order of the Netherlands Lion
Lockheed bribery scandals
Members of the Council of State (Netherlands)
Members of the Steering Committee of the Bilderberg Group
National Socialist Motor Corps members
Military personnel from Jena
People from Saxe-Weimar-Eisenach
Political controversies in the Netherlands
Princes of Lippe
Princes of Lippe-Biesterfeld
Protestant Church Christians from the Netherlands
Recipients of the Airman's Cross
Recipients of the Czechoslovak War Cross
Recipients of the Order of Orange-Nassau
Royal Air Force air marshals
Royal Air Force personnel of World War II
Royal Australian Air Force officers
Royal Netherlands Air Force generals
Royal Netherlands Air Force personnel of World War II
Royal Netherlands Air Force pilots
Royal Netherlands Army generals
Royal Netherlands Army personnel of World War II
Royal Netherlands East Indies Army generals
Royal Netherlands East Indies Army officers
Royal Netherlands East Indies Army personnel of World War II
Royal Netherlands Navy admirals
Royal Netherlands Navy personnel of World War II
University of Lausanne alumni
World Wide Fund for Nature
| false |
[
"Secondary consort, of the Wang clan (侧福晋 王氏, d. 1805), was princess consort of Yongxuan, Qianlong Emperor's 8th son. Her family belonged to Han Chinese Plain Yellow Banner. Her personal name was Yuying (，literally : Jade Flower).\n\nLife \nIt is not known neither when was lady Wang born nor when did she enter the Manor of Prince Yi as a servant. In 1768, she gave birth to Mianzhi, Yongxuan's first son. At that time, she was awarded a title of mistress. In 1769, Wang Yuying gave birth to the first daughter, later honoured as Lady of the Second Rank. In 1772, she birthed the second daughter, who would die prematurely in 1774. That same year, she birthed the third daughter, who would die prematurely in 1776. In 1775, she gave birth to the second son, Mianmao, who would die prematurely in 1777. In July 1785, her sole daughter married Barin Mongolian prince Gongsaishang'a of the Borjigin clan. Wang Yuying died in 1805 and was posthumously honoured as secondary consort.\n\nIssue \n\n Prince Yishun of the Second Rank Mianzhi (), first son\n Mianmao (绵懋), second son\n Lady of the Second Rank (1769-1834)\n Married Gongsaishang'a of the Barin Borjigin clan in July 1785\n Second daughter\n Third daughter\n Fourth daughter\n\nTitles \n\n lady Wang\n Mistress (庶福晋/诗妾) - from 1768\n Secondary consort (侧福晋) - from 1805 (awarded posthumously)\n\nReferences \n\nQing dynasty people\nManchu people\nQing dynasty princesses consorts\nChinese ladies-in-waiting",
"Princess Heke of the Second Rank (和碩和恪公主; 17 August 1758 – 14 December 1780), was a Chinese princess, ninth daughter of Qianlong Emperor and second daughter of Empress Xiaoyichun. She was given the title of a second rank princess in 1772 when she married Jalantai from the Uya clan which was the same clan as were her great-grandmother Empress Xiaogongren came \nfrom.\n\nLife \nPrincess Heke of the Second Rank was born 17 August 1758 in the Forbidden City Beijing to Consort Ling. Her adoptive mother was Consort Shu of the Yehe Nara clan.\n\nIn 1771, Princess Heke married Jalantai (扎兰泰) of the Uya clan.She had one daughter who married Rinchen Dorji (林沁多尔济).\n\nAncestry\n\nReferences \n\n1758 births\n1780 deaths\nQing dynasty princesses\n18th-century Chinese women\n18th-century Chinese people\nDaughters of emperors"
] |
[
"Prince Bernhard of Lippe-Biesterfeld",
"Marriage and children",
"Was he married?",
"they were married at The Hague on 7 January 1937.",
"Who was he married to?",
"Princess Juliana",
"Did they have any children?",
"Prince Bernhard was father of six children,",
"Did either him or Juliana have children outside of the marriage?",
"He had two illegitimate daughters.",
"Where they conceived before his marriage to Princess Juliana?",
"The first is Alicia von Bielefeld (born 21 June 1952),",
"Who was the second daughter?",
"Prince Bernhard's sixth daughter, Alexia Grinda (a.k.a. Alexia Lejeune or Alexia Grinda-Lejeune, born in Paris on 10 July 1967"
] |
C_6a2082aebb474143978bf0f0adc8d517_1
|
Who was her mother?
| 7 |
Who was Alexia Grinda's mother?
|
Prince Bernhard of Lippe-Biesterfeld
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Bernhard met then-Princess Juliana at the 1936 Winter Olympics at Garmisch-Partenkirchen. Juliana's mother, Queen Wilhelmina, had spent most of the 1930s looking for a suitable husband for Juliana. As a Protestant of royal rank (the Lippe-Biesterfelds were a sovereign house in the German Empire), Bernhard was acceptable for the devoutly religious Wilhelmina. Wilhelmina left nothing to chance, and had her lawyers draft a very detailed prenuptial agreement that specified exactly what Bernhard could and could not do. The couple's engagement was announced on 8 September 1936, and they were married at The Hague on 7 January 1937. Earlier, Bernhard had been granted Dutch citizenship, and changed the spelling of his names from German to Dutch. Previously styled as Serene Highness, he became a Royal Highness by Dutch Law. His appropriateness as consort of the future Queen would later become a matter of some public debate. Prince Bernhard was father of six children, four of them with Queen Juliana. The eldest daughter is Princess Beatrix, former Queen of the Netherlands, (1938). His other daughters with Juliana are Irene (1939), Margriet (1943) and Christina (1947). He had two illegitimate daughters. The first is Alicia von Bielefeld (born 21 June 1952), whose mother has not been identified. She is a landscape architect and lives in the United States. Prince Bernhard's sixth daughter, Alexia Grinda (a.k.a. Alexia Lejeune or Alexia Grinda-Lejeune, born in Paris on 10 July 1967), is his child by the French socialite and fashion model Helene Grinda. Although rumours about these two children had already spread, it was made official after his death. In December 2008, Dutch historian Cees Fasseur claimed that former British Conservative Cabinet Minister Jonathan Aitken was the result of a wartime affair between Prince Bernhard and Aitken's mother, previously Penelope Maffey. CANNOTANSWER
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Alexia Grinda-Lejeune, born in Paris on 10 July 1967), is his child by the French socialite and fashion model Helene Grinda.
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Prince Bernhard of Lippe-Biesterfeld (later Prince Bernhard of the Netherlands, ; 29 June 1911 – 1 December 2004) was a German-born nobleman who was the consort to Queen Juliana of the Netherlands; they were the parents of four children, including Beatrix, who was Queen of the Netherlands from 1980 to 2013.
He belonged to the princely House of Lippe and was a nephew of the Principality of Lippe's last sovereign Leopold IV. From birth he held the title Count of Biesterfeld; his uncle raised him to princely rank with the style of Serene Highness in 1916. He studied law and worked as an executive secretary at the Paris office of IG Farben. In 1937 he married Princess Juliana of the Netherlands and was immediately given the title Prince of the Netherlands with the style of Royal Highness. Upon his wife's accession to the throne in 1948, he became the prince consort of the Netherlands.
Although his private life was rather controversial, Prince Bernhard was still generally regarded as a popular figure by the majority of the Dutch for his performance as a combat pilot and his activities as a liaison officer and personal aide to Queen Wilhelmina during World War II, and for his work during post-war reconstruction. During World War II, he was part of the London-based Allied war planning councils. He saw active service as a Wing Commander (RAF), flying both fighter and bomber planes into combat. He was a Dutch general and Supreme Commander of the Dutch Armed forces, involved in negotiating the terms of surrender of the German Army in the Netherlands. For proven bravery, leadership and loyalty during his wartime efforts, he was appointed a Commander of the Military William Order, the Netherlands' oldest and highest honour. After the war he was made Honorary Air Marshal of the Royal Air Force by Queen Elizabeth II of the United Kingdom. In 1969, Bernhard was awarded the Grand Cross (Special Class) of the Order of Merit of the Federal Republic of Germany.
Bernhard helped found the World Wildlife Fund (later renamed World Wide Fund for Nature), becoming its first president in 1961. In 1970, along with Prince Philip, Duke of Edinburgh and other associates, he established the WWF's financial endowment "The 1001: A Nature Trust". In 1954, he was a co-founder of the international Bilderberg Group, which has met annually since then to discuss corporate globalisation and other issues concerning Europe and North America. He was forced to step down from both groups after being involved in the Lockheed Bribery Scandal in 1976.
Early life
Bernhard was born Bernhard Leopold Friedrich Eberhard Julius Kurt Karl Gottfried Peter, Count of Biesterfeld in Jena, Saxe-Weimar-Eisenach, German Empire on 29 June 1911, the elder son of Prince Bernhard of Lippe and his wife, Baroness Armgard von Sierstorpff-Cramm. He was a grandson of Ernest, Count of Lippe-Biesterfeld, who was regent of the Principality of Lippe until 1904. He was also a nephew of the principality's last sovereign, Leopold IV, Prince of Lippe.
Because his parents' marriage did not conform with the marriage laws of the House of Lippe, it was initially deemed morganatic, so Bernhard was granted only the title of Count of Biesterfeld at birth. He and his brother could succeed to the Lippian throne only if the entire reigning House became extinct. In 1916, his uncle Leopold IV as reigning Prince raised Bernhard and his mother to Prince and Princess of Lippe-Biesterfeld, thereby retroactively according his parents' marriage dynastic status. The suffix Biesterfeld was revived to mark the beginning of a new cadet line of the House of Lippe.
After World War I, Bernhard's family lost their German Principality and the revenue that had accompanied it. But the family was still reasonably well-off. Bernhard spent his early years at Reckenwalde castle (Wojnowo, Poland), the family's new estate in East Brandenburg, thirty kilometres east of the River Oder. He was taught privately and received his early education at home. When he was twelve, he was sent to board at the Gymnasium in Züllichau (Sulechów). Several years later he was sent to board at a Gymnasium in Berlin, from which he graduated in 1929.
Bernhard suffered from poor health as a boy. Doctors predicted that he would not live very long. This prediction might have inspired Bernhard's reckless driving and the risks that he took in the Second World War and thereafter. The prince wrecked several cars and planes in his lifetime.
Bernhard studied law at the University of Lausanne, Switzerland and in Berlin. In the latter city, he also acquired a taste for fast cars, horse riding, and big-game hunting safaris. He was nearly killed in a boating accident and an aeroplane crash. He suffered a broken neck and crushed ribs in a 160 km/h (100 mph) car crash in 1938.
While at university, Bernhard joined the Nazi Party. He also enrolled in the Sturmabteilung (SA), which he left in December 1934 when he graduated and went to work for IG Farben. The Prince later denied that he had belonged to SA, to the Reiter-SS (SS Cavalry Corps), and to the NSKK, but these are well-documented memberships. While he was not a fierce champion of democracy, the Prince was never known to hold any radical political views or express any racist sentiments, although he admitted that he briefly had sympathised with Adolf Hitler's regime.
The Prince eventually went to work for the German chemical giant IG Farben in the early 1930s, then the world's fourth-largest company. (It survives today as BASF, AGFA, and Bayer). He joined the statistics department of IG Farben's Berlin N.W. 7 department, the key Nazi overseas espionage center (known as VOWI) that evolved into the economic intelligence arm of the Wehrmacht. He lodged with Count Paul von Kotzebue (1884-1966), an exiled Russian nobleman of German descent, and his wife Allene Tew, who was born in the United States. After training, Bernhard became secretary in 1935 to the board of directors at the Paris office.
Marriage and children
Bernhard met then-Princess Juliana at the 1936 Winter Olympics at Garmisch-Partenkirchen. Juliana's mother, Queen Wilhelmina, had spent most of the 1930s looking for a suitable husband for Juliana. As a Protestant of royal rank (the Lippes were a sovereign house in the German Empire), Bernhard was deemed acceptable for the devoutly religious Wilhelmina. They were distantly related, 7th cousins in particular, both descending from Lebrecht, Prince of Anhalt-Zeitz-Hoym. Wilhelmina left nothing to chance, and had her lawyers draft a very detailed prenuptial agreement that specified exactly what Bernhard could and could not do. The couple's engagement was announced on 8 September 1936, and they were married at The Hague on 7 January 1937. Earlier, Bernhard had been granted Dutch citizenship and changed the spelling of his names from German to Dutch. Previously styled as Serene Highness, he became a Royal Highness by Dutch law. His appropriateness as consort of the future Queen would later become a matter of some public debate.
Prince Bernhard fathered six children, four of them with Queen Juliana. The eldest daughter is Beatrix, (born 1938), who later became Queen of the Netherlands. His other daughters with Juliana are Irene (born 1939), Margriet (born 1943) and Christina (1947–2019).
He had two "natural", or illegitimate, daughters. The first is Alicia von Bielefeld (born in San Francisco on 21 June 1952), whose mother has been identified as Alicia Webber, a 19 years old German national, illegitimate daughter of German aviator and test pilot Hanna Reitsch. Von Bielefeld has become a landscape architect and lives in the United States. His sixth daughter, Alexia Grinda (a.k.a. Alexia Lejeune or Alexia Grinda-Lejeune, born in Paris on 10 July 1967), is his child by Hélène Grinda, a French socialite and fashion model. Although rumours about these two children were already widespread, their status as his daughters was made official after his death. In December 2008, Dutch historian Cees Fasseur claimed that Jonathan Aitken, former British Conservative Cabinet Minister, was also a child of Prince Bernhard, the result of his wartime affair with Penelope Maffey.
Attitudes to Nazi Germany
Prince Bernhard was a member of the "Reiter-SS", a mounted unit of the SS and had joined the Nazi party before the war. He later also joined the National Socialist Motor Corps.
Various members of his family and friends were aligned with the Nazis prior to the Second World War, and a number of them attended the royal wedding. Protocol demanded that the prospective Prince-Consort be invited to an audience with his head of state, who at the time was Adolf Hitler. Hitler gave an account of the conversation he had with Bernhard in his Tischgespräche (Table Conversations). This book was a collection of monologues, remarks, and speeches Hitler gave during lunch or dinner to those he had invited.
The Prince's brother, Prince Aschwin of Lippe-Biesterfeld, was an officer in the German Army. Although the secret services on both sides were interested in this peculiar pair of brothers, no improper contacts or leaks of information were ever discovered. He cut off relations with those members of his family who were enthusiastic Nazis. As a sign of his "Dutchness", near the end of the war, he spoke only Dutch when negotiating the surrender of German forces in the Netherlands.
Second World War
At the outset of the Second World War, during the German invasion of the Netherlands, the Prince, carrying a machine gun, organised the palace guards into a combat group and shot at German warplanes. The Royal family fled the Netherlands and took refuge in England. Disagreeing with Queen Wilhelmina's decision to leave the Kingdom, the young Prince Consort, aged 28, is said at first to have refused to go and to have wanted to oppose the Nazi occupation from within the country. However, in the end, he agreed to join his wife and became head of the Royal Military Mission based in London. His wife Princess Juliana and their children continued on to Canada, where they remained until the end of the war.
In England, Prince Bernhard asked to work in British Intelligence. The War Admiralty, and later General Eisenhower's Allied Command offices, did not trust him enough to allow him access to sensitive intelligence information. On the recommendation of Bernhard's friend and admirer King George VI, however, who was also of German aristocratic descent through his mother Mary of Teck and his great-grandfather Prince Albert, and after Bernhard was personally screened by British intelligence officer Ian Fleming at the behest of Churchill, he was later given work to do in the Allied War Planning Councils.
"For Bernhard, the Prince of the Netherlands, the war was a frustrating business. Born a German, he had married Queen Wilhelmina's only child, Princess Juliana, and in due time made a conscious and meaningful transition of loyalties to his new homeland. Because of this, and in view of the doubts his background initially evoked among some Britons, he longed more than anyone for a chance to get at Holland's aggressors." Erik Hazelhoff Roelfzema aka "Soldier of Orange", decorated war hero.
On 25 June 1940, three days after France fell to the German war machine, Bernhard spoke on the Overseas Service of the BBC. He called Hitler a German tyrant and expressed his confidence that Britain would defeat the Third Reich.
In 1940, Flight Lieutenant Murray Payne gave the prince instruction in flying a Spitfire. The prince made 1,000 flight-hours in a Spitfire with the RAF's No. 322 (Dutch) Squadron RAF, wrecking two planes during landings. He remained an active pilot throughout his life and flew his last aeroplane 53 years later, with his grandson and heir to the throne, who inherited his passion for flying.
In 1941, Prince Bernhard was given the honorary rank of wing commander in the Royal Air Force. As "Wing Commander Gibbs (RAF)", Prince Bernhard flew over occupied Europe, attacking V-1 launch pads in a B-24 Liberator, bombing Pisa, and engaging submarines over the Atlantic in a B-25 Mitchell, and conducting reconnaissance over enemy-held territory in an L-5 Grasshopper. Prince Bernhard was awarded the Dutch Airman's Cross for his "ability and perseverance" (Dutch: "bekwaamheid en volharding"). In 1941 he also received a promotion to Honorary Air Commodore.
He also helped organise the Dutch resistance movement and acted as the personal secretary for Queen Wilhelmina.
Queen Wilhelmina erased the style "honorary" (the exact words were "à la suite") in the decree promoting Bernhard to General. In this unconstitutional manner, she gave this Royal Prince a status that was never intended by either Parliament or her Ministers. The Minister of Defence did not choose to correct the Monarch, and the Prince took an active and important role in the Dutch Armed forces.
By 1944, Prince Bernhard became Commander of the Dutch Armed Forces. After the liberation of the Netherlands, he returned with his family and became active in the negotiations for the German surrender. He was present during the Armistice negotiations and German surrender at Hotel de Wereld ("The World Hotel"), Wageningen in The Netherlands on 5 May 1945, where he avoided speaking German.
The Prince was a genuine war hero in the eyes of most of the Dutch; he kept cordial relations with the Communists who fought against the Nazis. In the post-war years, he earned respect for his work in helping to reinvigorate the economy of the Netherlands.
Postwar roles
After the War, the position of Inspector General was created for the Prince.
On the 4th of September 1948, his mother in law Queen Wilhelmina abdicated the throne and Juliana became Queen of the Netherlands and Bernhard became Prince Consort of the Netherlands. He was made a member of the boards of supervisors of Fokker Aircraft and KLM Royal Dutch Airlines, and within a few years he had been invited to serve as an adviser or non-executive director of numerous corporations and institutions. There have been claims that KLM helped Nazis to leave Germany for Argentina on KLM flights while Bernhard was on its board. After a 1952 trip with Queen Juliana to the United States, Prince Bernhard was heralded by the media as a business ambassador extraordinaire for the Netherlands.
With his global contacts having been approached by the secretive Polish diplomat, Józef Retinger, in May 1954 Bernhard was a key figure in organising a meeting at the Bilderberg Hotel in the Netherlands for the business elite and intellectuals of the Western World to discuss the economic problems in the face of what they characterised as the growing threat from Communism. This first meeting was successful, and it became an annual gathering known as the Bilderberg Group. The idea for the European Union, first proposed by Robert Schuman on 9 May 1950, was encouraged at Bilderberg.
Prince Bernhard was a very outspoken person who often flouted protocol by remarking upon subjects about which he felt deeply. Almost until his last day, he called for more recognition for the Polish veterans of the Second World War, who had figured greatly in the liberation of the Netherlands. But it was not until after his death that the Dutch Government publicly recognised the important role of the Polish Army in the liberation: on 31 May 2006, at the Binnenhof in The Hague, Queen Beatrix conferred the Military William Order, the highest Dutch military decoration, on the Polish 1st Independent Parachute Brigade. The award is now worn by the 6th Airborne Brigade which inherited the battle honours of the brigade.
Friendships and international connections
Prince Bernhard was seen as a jet-setting and charismatic ambassador for the Dutch during post-war reconstruction. Because of his connections, Prince Bernhard reportedly maintained friendships with several high-profile international figures. They included Nelson Mandela, David Rockefeller, Mohammad Reza Pahlavi, Ian Fleming, and Walter Bedell Smith.
Scandals and rumours
Hofmans Affair
In the mid-1950s, Queen Juliana and Prince Bernhard's marriage faced significant strain because of the ongoing influence of Greet Hofmans, a faith healer and layer-on of hands. For nine years she acted as a confidante and adviser to Queen Juliana, often residing at Palace Soestdijk. Originally, Hofmans was introduced to Queen Juliana at the initiative of Prince Bernhard in 1948 to treat an eye illness of their youngest daughter, Princess Christina (then still called Marijke). This illness arose because Juliana was infected with rubella during pregnancy. Hofmans developed a great influence on the Queen, encouraging pacifist ideas. In the period of the Cold War, this caused a crisis in the Royal Household.
While the Dutch press did not report widely on the issue, outside the Netherlands, a great deal was written about the Hofmans affair. On 13 June 1956, an article was published in the German magazine Der Spiegel, titled "Zwischen Königin und Rasputin" – "between the Queen and her Rasputin". It portrayed Hofmans in a less-than-flattering way. Later, Bernhard admitted that he had personally provided the information for the article. Observers said that, in doing so, he hoped to have Hofmans removed from the court. In the face of escalating tensions, the Prime Minister, Willem Drees appointed a committee of "three wise men" (elder statesmen) to advise the royal couple. Hofmans was banished as were various allies and supporters who had grown to prominence within the Royal Household.
In 2008 the report of the "three wise men" was made public. Historian Cees Fasseur drew from it for his book, Juliana & Bernhard (2008); in addition, the Queen had granted him access to the private royal archive. He noted that Bernhard was reprimanded in 1956 for having leaked confidential information to the international press. Fasseur said that Bernhard resorted to bringing in the international press only after repeated, desperate and often dramatic pleading with his wife to distance herself from the Hofmans group. Fasseur wrote:
"Bernard was obviously a free spirited chap, who independently went about his business. But he was still very much a family man. I got the feeling he was the only one that was seeing things were getting completely out of hand and tried to salvage the situation as much as he could."
Lockheed scandal
Scandal rocked the Royal family in 1976 when the press reported that Prince Bernhard had accepted a US$1.1 million bribe from U.S. aircraft manufacturer Lockheed Corporation to influence the Dutch government's purchase of fighter aircraft. At the time he had served on more than 300 corporate boards and committees worldwide and had been praised in the Netherlands for his efforts to promote the economic well-being of the country. Prime Minister of the Netherlands Joop den Uyl ordered an inquiry into the Lockheed affair. Prince Bernhard refused to answer reporters' questions, stating: "I am above such things".
The Dutch and international press headlined the stories for months. They also brought up records of Prince Bernhard's Reiter SS membership and details of his numerous extramarital affairs. They noted he had purchased a luxurious Paris apartment for his mistress Hélène Grinda (granddaughter of Édouard Grinda), with whom he had a daughter, Alexia, who was illegitimate. Bernhard had an older illegitimate daughter, Alicia, born in the United States (with a German pilot whom he met in Mexico in 1951).
On 26 August 1976, a full report of Prince Bernhard's activities was released to a shocked Dutch public. The Prince's own letter of 1974, to Lockheed Corporation, was publicised; he had demanded "commissions" be paid to him on Dutch government aircraft purchases. This was very damaging evidence of improper conduct by the man who was Inspector-General of the Dutch Armed Forces. Out of respect for Queen Juliana, the government did not press charges against Bernhard.
Prince Bernhard resigned as Inspector-General of the Dutch Armed Forces. He was no longer officially allowed to wear a uniform in public. But a few years later, he was in full military dress when he attended the 1979 funeral of Lord Mountbatten in London.
Prime Minister Joop den Uyl made a statement in Parliament and told the delegates that the Prince would also resign from his various high-profile positions in businesses, charities, and other institutions. The Dutch States-General voted against criminal prosecution. Prince Bernhard turned over the Presidency of the international World Wildlife Fund to Prince Philip, Duke of Edinburgh.
In an interview published after his death, on 14 December 2004, Prince Bernhard admitted that he had accepted more than one million dollars (US) in bribes from Lockheed. He acknowledged it was a mistake and claimed that all of the money went to the WWF. He said: "I have accepted that the word Lockheed will be carved on my tombstone." He also confirmed having fathered two illegitimate daughters.
In February 2008, Joop den Uyl's biography claimed that the official report investigating the Lockheed bribe scandal also presented proof that the Prince had accepted money from yet another aerospace firm: Northrop. The former Prime Minister claimed he had not made the information public to protect the Dutch monarchy.
Project Lock
In 1988, Prince Bernhard and Princess Juliana sold two paintings from their personal collection to raise money for the World Wildlife Fund. The paintings sold for GBP700,000, which was deposited in a Swiss WWF bank account. In 1989, however, Charles de Haes, Director-General of the WWF, transferred GBP500,000 back to Bernhard, for what De Haes called a private project. In 1991, newspapers reported what this private project was: Prince Bernhard had hired KAS International, owned by Special Air Service founder Sir David Stirling, to use mercenaries – mostly British – to fight poachers in nature reserves. The paramilitary group infiltrated organisations profiting from illegal trade in ivory in order to arrest them.
This Project Lock seemed to have backfired enormously, however. The hired mercenaries had not only infiltrated the illegal trade, they were also participating in it.
In 1995, Nelson Mandela called upon the Kumleben Commission to investigate, among other things, the role of the WWF in apartheid-South Africa. In the report that followed, it was suggested that mercenaries from Project Lock had planned assassinations of ANC members and that mercenaries had been running training camps in the wildlife reserves, training fighters from the anti-communist groups UNITA and Renamo. Prince Bernhard was never accused of any crime in this context but the Project Lock scandal negatively impacted the Prince's reputation.
Additional controversies and rumours
Prince Bernhard garnered media attention when, on 30 October 2002, he paid the fines of two Albert Heijn supermarket staff members, who were convicted of assaulting a shoplifter after they detained him.
The 2009 publication HRH: High Stakes at the Court of His Royal Highness by historian Harry Veenendaal and journalist Jort Kelder alleges that the Prince in 1950 attempted to oust the young government of the newly founded Republic of Indonesia and place himself to lead the Islands as Viceroy similar to Lord Mountbatten's role in British India. This was particularly contentious as in 1949 the Netherlands had already officially recognised its former colony as an independent nation.
A 2016 biography by Jolande Withuis about his wife queen Juliana, titled Juliana, posited further rumours including that he had once sexually assaulted a minor, that he had refused to divorce the queen twice, and that later on during their final years in life he prohibited Juliana from seeing him.
Death
In 1994 the Prince had a colon tumor removed and suffered severe complications due to respiratory distress. In December, his daughter Queen Beatrix rushed to the hospital straight after landing from a trip to Africa. By Christmas the prospect of death had faded and spring the next year he recovered enough to go home. His health problems continued in 1998 when he had a prostate swelling and in 1999 when he suffered difficulties breathing and talking. He did, however, attend the wedding of his grandson, straight after having prostate surgery. In 2000, his life was endangered again when he suffered neurological complications and continued breathing problems. Two days after intensive medical (and media) attention the Royal Press Office issued a statement the Prince was reading newspapers again.
Over the following years Bernhard continued to appear at the military parades on the national liberation day celebrating the defeat of Nazi Germany. Only when his wife Juliana died in March 2004 did the Prince become exceedingly fragile. Up to the last moment it remained uncertain if he could attend the royal funeral, which he eventually managed to attend. He said his final farewells to his war comrades on Liberation Day in May and in November that same year he was diagnosed with untreatable cancer.
Prince Bernhard died of lung cancer at the age of 93 at University Medical Center Utrecht in Utrecht on 1 December 2004, two years after the death of his son-in-law Prince Claus; his death suffered from malignant lung and intestinal tumors. On 11 December 2004, he was interred with a state funeral at the Nieuwe Kerk, Delft. Bernhard's funeral was different from those of Prince Claus and Queen Juliana in that Bernhard's coffin was transported on the undercarriage of a cannon instead of in the traditional carriage used when the coffins of Prince Claus and Queen Juliana were transported to Delft. Together with the playing of many military marches and the forming of guards of honour by Second World War veterans this gave the funeral procession a military character as the late Prince, a Second World War veteran, had wished. As a final tribute to his former military role in the Royal Netherlands Air Force, three modern F-16 jet fighters and a World War II Spitfire plane performed a low flypast during the funeral in a classic missing man formation.
In popular culture
In the years after Bernhard died his life story has been the inspiration for literature, theatre, television and comic books. In 2010 fact and fiction of the life of Bernhard was portrayed in a Dutch television series. In a biographical dissertation by Dutch journalist and historian Annejet van der Zijl published in March 2010, Bernhard was called "a failure" in the history of the Dutch Royal Family and a "creature of his own myths".
Titles, styles and honours
Titles
29 June 1911 – 1916: Count Bernhard of Biesterfeld
1916 – 7 January 1937: His Serene Highness Prince Bernhard of Lippe-Biesterfeld
7 January 1937 – 6 September 1948: His Royal Highness Prince Bernhard of the Netherlands, Prince of Lippe-Biesterfeld
6 September 1948 – 30 April 1980: His Royal Highness The Prince of the Netherlands
30 April 1980 – 1 December 2004: His Royal Highness Prince Bernhard of the Netherlands, Prince of Lippe-Biesterfeld
Honours
National honours
Knight Commander of the Military William Order
Knight Grand Cross of the Order of the Netherlands Lion
Knight Grand Cross of the Order of Orange-Nassau
Grand Master Knight Commander of the Order of the Golden Ark, 1st Class
Knight Commander of the Order of St. John in the Netherlands
Recipient of the Airman's Cross
Recipient of the Queen Juliana Inauguration Medal
Foreign honours
: Grand Cross of the Order of the Liberator General San Martín
: Grand Star Decoration for Services to the Republic of Austria, Gold
: Knight Grand Cross of the Order of Leopold I
: Recipient of the War Cross Medal 1939–1945
: Grand Cross of the Order of the Southern Cross
: Grand Cross of the Order of Valour
: Grand Cross of the Order of the White Lion
: Recipient of the Czechoslovak War Cross 1939–1945
: Grand Cross of the Order of Merit
: Grand Cross of the Order of Boyaca, Special Class
: Knight of the Order of the Elephant
: Grand Cross of the Order of Merit of Duarte, Sánchez and Mella, Silver
: Grand Cross of the Order of Abdon Calderón
Ethiopian Imperial Family: Knight Grand Cordon with Collar of the Order of the Queen of Sheba
: Grand Cross of the Order of the White Rose of Finland
: Grand Cross of the Order of the Legion of Honour
: Commander of the Order of Academic Palms
: Recipient of the Aeronautical Medal
: Grand Cross of the Order of Merit of the Federal Republic of Germany, Special Issue
Greece
Greek Royal Family: Knight Grand Cross of the Order of George I
: Recipient of the 1940 War Cross Medal
: Grand Cross of the Order of Santa Rosa and of Civilisation
: Adipurna Grand Cross of the Order of the star of Mahaputera
Iranian Imperial Family: Knight Grand Cordon of the Order of the Lion and the Sun
Iranian Imperial Family: Recipient of the Commemorative Medal of the 2,500 year Celebration of the Persian Empire
: Grand Cross of the Order of Merit of the Italian Republic
: Grand Cross of the National Order of the Ivory Coast
: Knight Grand Cordon of the Order of the Rising Sun
: Grand Cross of the Order of the Pioneers of Liberia
: Knight Grand Cross of the Order of the Gold Lion of the House of Nassau
: Recipient of the War Cross Medal 1939–1945
: Grand Cross of the Order of the Aztec Eagle, Special Class
Nepal: Member Grand Cross of the Order of Ojaswi Rajanya
: Grand Cross of the Order of Rubén Darío, Special Class
: Knight Grand Cross of the Order of Saint Olav
: Grand Cross of the Order of Manuel Amador Guerrero
: Grand Cross of the Order of Merit, Special Class
: Grand Cross of the Order of the Sun of Peru
: Grand Cross of the Order of Military Virtue
: Grand Cross of the National Order of Merit
: Bailiff Knight Grand Cross of Honour and Devotion of the Sovereign Military Order of Malta
: Knight Grand Cross of the Order of Charles III
: Grand Cross of the Honorary Order of the Yellow Star
: Knight Grand Cross of the Royal Order of the Seraphim
: Knight Grand Cordon with Chain of the Order of the Royal House of Chakri
: Grand Cross of the Order of Independence
: Honorary Knight Grand Cross of the Order of the Bath
: Honorary Knight Grand Cross of the Royal Victorian Order
: Recipient of the France and Germany Star
: Recipient of the Defence Medal
: Recipient of the King George VI Coronation Medal
: Recipient of the Queen Elizabeth II Coronation Medal
: Officer of the Legion of Merit
: Grand Cross of the Order of the Liberator
: Grand Cross of the Order of Karađorđe's Star
Military ranks
Military ranks of the Armed forces of the Netherlands
Honorary military ranks of foreign armed forces
Ancestry
References
External links
1911 births
2004 deaths
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Royal Netherlands Navy personnel of World War II
University of Lausanne alumni
World Wide Fund for Nature
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"Rosa Fitinghoff (5 May 1872 – 27 March 1949) was a Swedish writer of novels. She was noted for her interest in dogs. Her mother and her aunt, Malvina Bråkenhielm were also novelists.\n\nLife\nFitinghoff was born in Torsåker parish to an indulgent father, Conrad Fitinghoff and Laura Fitinghoff who was a writer. The lived in a large house in Ekensholm where her father gave her a herd of reindeer and a steamboat as a baptismal gift. However by the time she was eight the family fortune was gone and they moved to a smaller house in Blekinge. She was devoted to her mother and she was educated in Stockholm. Her mother and father were estranged and her mother took in lodgers and took up writing. After school she became her mother's assistant. Her mother joined the writer's association and became part of the capital's cultural group.\n\nHer mother died in 1908 and it was not until 1911 that she had her own work published. Novels continued but the lack of complexity in her characters was noted. She was much more successful when she was writing about dogs and this was her passion. She kept a large collection of poodles and wrote stories about dogs. It was said that she understood dogs better than people, although her knowledge of the people of Lapland was also noted. She took several holidays to Lapland and used this experience in her writing of Unknown Powers in 1937. The following year she paid for her father's remains to be removed to join her mother's at Sollefteå church.\n\nFitinghoff wrote her last book The Cavalry of Memories in 1948 which was biographical. She died in Danderyd parish the following year.\n\nReferences\n\nFurther reading\n \n\n1872 births\n1949 deaths\nSwedish women writers",
"Alicia Tindal Palmer (1763 – 1822) was a British writer.\n\nLife\nPalmer was born in Bath in 1763. Her father, John, was the actor known as \"Gentleman Palmer\" and her mother was Hannah Mary Pritchard. Her father's career as an actor was overshadowed by another John Palmer who was no relation whilst his mother had been an actress but her own mother, and Palmer's grandmother, was the more well known Hannah Pritchard.\n\nPalmer's father died in an accident when he was given a mistaken prescription in 1768. Her mother retired from the stage having inherited property from her mother. She remarried a Mr Lloyd.\n\nPalmer's first three volume novel, The Husband and Lover was published in 1809. It was well received, whereas her next novel received an unusual review. Her next story was a moral tale titled The Daughters of Isenberg: a Bavarian Romance and it received a very poor review from John Gifford of the Quarterly Review. Moreover, Gifford claimed that he had been given three pounds as a bribe to give a good review.\n\nHer next book was published in 1811 and her final work was a biography about John Sobieski. It was called Authentic Memoirs of the Life of John Sobieski, King of Poland and it was published in 1815.\n\nPalmer died in 1822.\n\nReferences\n\n1763 births\n1822 deaths\nPeople from Bath, Somerset\n19th-century British novelists\nBritish biographers\n19th-century British women writers\n19th-century British writers\nWomen biographers"
] |
[
"Prince Bernhard of Lippe-Biesterfeld",
"Marriage and children",
"Was he married?",
"they were married at The Hague on 7 January 1937.",
"Who was he married to?",
"Princess Juliana",
"Did they have any children?",
"Prince Bernhard was father of six children,",
"Did either him or Juliana have children outside of the marriage?",
"He had two illegitimate daughters.",
"Where they conceived before his marriage to Princess Juliana?",
"The first is Alicia von Bielefeld (born 21 June 1952),",
"Who was the second daughter?",
"Prince Bernhard's sixth daughter, Alexia Grinda (a.k.a. Alexia Lejeune or Alexia Grinda-Lejeune, born in Paris on 10 July 1967",
"Who was her mother?",
"Alexia Grinda-Lejeune, born in Paris on 10 July 1967), is his child by the French socialite and fashion model Helene Grinda."
] |
C_6a2082aebb474143978bf0f0adc8d517_1
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Was he involved with the two illegitimate daughters?
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Was Prince Bernhard of Lippe-Biesterfeld involved with the two illegitimate daughters?
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Prince Bernhard of Lippe-Biesterfeld
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Bernhard met then-Princess Juliana at the 1936 Winter Olympics at Garmisch-Partenkirchen. Juliana's mother, Queen Wilhelmina, had spent most of the 1930s looking for a suitable husband for Juliana. As a Protestant of royal rank (the Lippe-Biesterfelds were a sovereign house in the German Empire), Bernhard was acceptable for the devoutly religious Wilhelmina. Wilhelmina left nothing to chance, and had her lawyers draft a very detailed prenuptial agreement that specified exactly what Bernhard could and could not do. The couple's engagement was announced on 8 September 1936, and they were married at The Hague on 7 January 1937. Earlier, Bernhard had been granted Dutch citizenship, and changed the spelling of his names from German to Dutch. Previously styled as Serene Highness, he became a Royal Highness by Dutch Law. His appropriateness as consort of the future Queen would later become a matter of some public debate. Prince Bernhard was father of six children, four of them with Queen Juliana. The eldest daughter is Princess Beatrix, former Queen of the Netherlands, (1938). His other daughters with Juliana are Irene (1939), Margriet (1943) and Christina (1947). He had two illegitimate daughters. The first is Alicia von Bielefeld (born 21 June 1952), whose mother has not been identified. She is a landscape architect and lives in the United States. Prince Bernhard's sixth daughter, Alexia Grinda (a.k.a. Alexia Lejeune or Alexia Grinda-Lejeune, born in Paris on 10 July 1967), is his child by the French socialite and fashion model Helene Grinda. Although rumours about these two children had already spread, it was made official after his death. In December 2008, Dutch historian Cees Fasseur claimed that former British Conservative Cabinet Minister Jonathan Aitken was the result of a wartime affair between Prince Bernhard and Aitken's mother, previously Penelope Maffey. CANNOTANSWER
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CANNOTANSWER
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Prince Bernhard of Lippe-Biesterfeld (later Prince Bernhard of the Netherlands, ; 29 June 1911 – 1 December 2004) was a German-born nobleman who was the consort to Queen Juliana of the Netherlands; they were the parents of four children, including Beatrix, who was Queen of the Netherlands from 1980 to 2013.
He belonged to the princely House of Lippe and was a nephew of the Principality of Lippe's last sovereign Leopold IV. From birth he held the title Count of Biesterfeld; his uncle raised him to princely rank with the style of Serene Highness in 1916. He studied law and worked as an executive secretary at the Paris office of IG Farben. In 1937 he married Princess Juliana of the Netherlands and was immediately given the title Prince of the Netherlands with the style of Royal Highness. Upon his wife's accession to the throne in 1948, he became the prince consort of the Netherlands.
Although his private life was rather controversial, Prince Bernhard was still generally regarded as a popular figure by the majority of the Dutch for his performance as a combat pilot and his activities as a liaison officer and personal aide to Queen Wilhelmina during World War II, and for his work during post-war reconstruction. During World War II, he was part of the London-based Allied war planning councils. He saw active service as a Wing Commander (RAF), flying both fighter and bomber planes into combat. He was a Dutch general and Supreme Commander of the Dutch Armed forces, involved in negotiating the terms of surrender of the German Army in the Netherlands. For proven bravery, leadership and loyalty during his wartime efforts, he was appointed a Commander of the Military William Order, the Netherlands' oldest and highest honour. After the war he was made Honorary Air Marshal of the Royal Air Force by Queen Elizabeth II of the United Kingdom. In 1969, Bernhard was awarded the Grand Cross (Special Class) of the Order of Merit of the Federal Republic of Germany.
Bernhard helped found the World Wildlife Fund (later renamed World Wide Fund for Nature), becoming its first president in 1961. In 1970, along with Prince Philip, Duke of Edinburgh and other associates, he established the WWF's financial endowment "The 1001: A Nature Trust". In 1954, he was a co-founder of the international Bilderberg Group, which has met annually since then to discuss corporate globalisation and other issues concerning Europe and North America. He was forced to step down from both groups after being involved in the Lockheed Bribery Scandal in 1976.
Early life
Bernhard was born Bernhard Leopold Friedrich Eberhard Julius Kurt Karl Gottfried Peter, Count of Biesterfeld in Jena, Saxe-Weimar-Eisenach, German Empire on 29 June 1911, the elder son of Prince Bernhard of Lippe and his wife, Baroness Armgard von Sierstorpff-Cramm. He was a grandson of Ernest, Count of Lippe-Biesterfeld, who was regent of the Principality of Lippe until 1904. He was also a nephew of the principality's last sovereign, Leopold IV, Prince of Lippe.
Because his parents' marriage did not conform with the marriage laws of the House of Lippe, it was initially deemed morganatic, so Bernhard was granted only the title of Count of Biesterfeld at birth. He and his brother could succeed to the Lippian throne only if the entire reigning House became extinct. In 1916, his uncle Leopold IV as reigning Prince raised Bernhard and his mother to Prince and Princess of Lippe-Biesterfeld, thereby retroactively according his parents' marriage dynastic status. The suffix Biesterfeld was revived to mark the beginning of a new cadet line of the House of Lippe.
After World War I, Bernhard's family lost their German Principality and the revenue that had accompanied it. But the family was still reasonably well-off. Bernhard spent his early years at Reckenwalde castle (Wojnowo, Poland), the family's new estate in East Brandenburg, thirty kilometres east of the River Oder. He was taught privately and received his early education at home. When he was twelve, he was sent to board at the Gymnasium in Züllichau (Sulechów). Several years later he was sent to board at a Gymnasium in Berlin, from which he graduated in 1929.
Bernhard suffered from poor health as a boy. Doctors predicted that he would not live very long. This prediction might have inspired Bernhard's reckless driving and the risks that he took in the Second World War and thereafter. The prince wrecked several cars and planes in his lifetime.
Bernhard studied law at the University of Lausanne, Switzerland and in Berlin. In the latter city, he also acquired a taste for fast cars, horse riding, and big-game hunting safaris. He was nearly killed in a boating accident and an aeroplane crash. He suffered a broken neck and crushed ribs in a 160 km/h (100 mph) car crash in 1938.
While at university, Bernhard joined the Nazi Party. He also enrolled in the Sturmabteilung (SA), which he left in December 1934 when he graduated and went to work for IG Farben. The Prince later denied that he had belonged to SA, to the Reiter-SS (SS Cavalry Corps), and to the NSKK, but these are well-documented memberships. While he was not a fierce champion of democracy, the Prince was never known to hold any radical political views or express any racist sentiments, although he admitted that he briefly had sympathised with Adolf Hitler's regime.
The Prince eventually went to work for the German chemical giant IG Farben in the early 1930s, then the world's fourth-largest company. (It survives today as BASF, AGFA, and Bayer). He joined the statistics department of IG Farben's Berlin N.W. 7 department, the key Nazi overseas espionage center (known as VOWI) that evolved into the economic intelligence arm of the Wehrmacht. He lodged with Count Paul von Kotzebue (1884-1966), an exiled Russian nobleman of German descent, and his wife Allene Tew, who was born in the United States. After training, Bernhard became secretary in 1935 to the board of directors at the Paris office.
Marriage and children
Bernhard met then-Princess Juliana at the 1936 Winter Olympics at Garmisch-Partenkirchen. Juliana's mother, Queen Wilhelmina, had spent most of the 1930s looking for a suitable husband for Juliana. As a Protestant of royal rank (the Lippes were a sovereign house in the German Empire), Bernhard was deemed acceptable for the devoutly religious Wilhelmina. They were distantly related, 7th cousins in particular, both descending from Lebrecht, Prince of Anhalt-Zeitz-Hoym. Wilhelmina left nothing to chance, and had her lawyers draft a very detailed prenuptial agreement that specified exactly what Bernhard could and could not do. The couple's engagement was announced on 8 September 1936, and they were married at The Hague on 7 January 1937. Earlier, Bernhard had been granted Dutch citizenship and changed the spelling of his names from German to Dutch. Previously styled as Serene Highness, he became a Royal Highness by Dutch law. His appropriateness as consort of the future Queen would later become a matter of some public debate.
Prince Bernhard fathered six children, four of them with Queen Juliana. The eldest daughter is Beatrix, (born 1938), who later became Queen of the Netherlands. His other daughters with Juliana are Irene (born 1939), Margriet (born 1943) and Christina (1947–2019).
He had two "natural", or illegitimate, daughters. The first is Alicia von Bielefeld (born in San Francisco on 21 June 1952), whose mother has been identified as Alicia Webber, a 19 years old German national, illegitimate daughter of German aviator and test pilot Hanna Reitsch. Von Bielefeld has become a landscape architect and lives in the United States. His sixth daughter, Alexia Grinda (a.k.a. Alexia Lejeune or Alexia Grinda-Lejeune, born in Paris on 10 July 1967), is his child by Hélène Grinda, a French socialite and fashion model. Although rumours about these two children were already widespread, their status as his daughters was made official after his death. In December 2008, Dutch historian Cees Fasseur claimed that Jonathan Aitken, former British Conservative Cabinet Minister, was also a child of Prince Bernhard, the result of his wartime affair with Penelope Maffey.
Attitudes to Nazi Germany
Prince Bernhard was a member of the "Reiter-SS", a mounted unit of the SS and had joined the Nazi party before the war. He later also joined the National Socialist Motor Corps.
Various members of his family and friends were aligned with the Nazis prior to the Second World War, and a number of them attended the royal wedding. Protocol demanded that the prospective Prince-Consort be invited to an audience with his head of state, who at the time was Adolf Hitler. Hitler gave an account of the conversation he had with Bernhard in his Tischgespräche (Table Conversations). This book was a collection of monologues, remarks, and speeches Hitler gave during lunch or dinner to those he had invited.
The Prince's brother, Prince Aschwin of Lippe-Biesterfeld, was an officer in the German Army. Although the secret services on both sides were interested in this peculiar pair of brothers, no improper contacts or leaks of information were ever discovered. He cut off relations with those members of his family who were enthusiastic Nazis. As a sign of his "Dutchness", near the end of the war, he spoke only Dutch when negotiating the surrender of German forces in the Netherlands.
Second World War
At the outset of the Second World War, during the German invasion of the Netherlands, the Prince, carrying a machine gun, organised the palace guards into a combat group and shot at German warplanes. The Royal family fled the Netherlands and took refuge in England. Disagreeing with Queen Wilhelmina's decision to leave the Kingdom, the young Prince Consort, aged 28, is said at first to have refused to go and to have wanted to oppose the Nazi occupation from within the country. However, in the end, he agreed to join his wife and became head of the Royal Military Mission based in London. His wife Princess Juliana and their children continued on to Canada, where they remained until the end of the war.
In England, Prince Bernhard asked to work in British Intelligence. The War Admiralty, and later General Eisenhower's Allied Command offices, did not trust him enough to allow him access to sensitive intelligence information. On the recommendation of Bernhard's friend and admirer King George VI, however, who was also of German aristocratic descent through his mother Mary of Teck and his great-grandfather Prince Albert, and after Bernhard was personally screened by British intelligence officer Ian Fleming at the behest of Churchill, he was later given work to do in the Allied War Planning Councils.
"For Bernhard, the Prince of the Netherlands, the war was a frustrating business. Born a German, he had married Queen Wilhelmina's only child, Princess Juliana, and in due time made a conscious and meaningful transition of loyalties to his new homeland. Because of this, and in view of the doubts his background initially evoked among some Britons, he longed more than anyone for a chance to get at Holland's aggressors." Erik Hazelhoff Roelfzema aka "Soldier of Orange", decorated war hero.
On 25 June 1940, three days after France fell to the German war machine, Bernhard spoke on the Overseas Service of the BBC. He called Hitler a German tyrant and expressed his confidence that Britain would defeat the Third Reich.
In 1940, Flight Lieutenant Murray Payne gave the prince instruction in flying a Spitfire. The prince made 1,000 flight-hours in a Spitfire with the RAF's No. 322 (Dutch) Squadron RAF, wrecking two planes during landings. He remained an active pilot throughout his life and flew his last aeroplane 53 years later, with his grandson and heir to the throne, who inherited his passion for flying.
In 1941, Prince Bernhard was given the honorary rank of wing commander in the Royal Air Force. As "Wing Commander Gibbs (RAF)", Prince Bernhard flew over occupied Europe, attacking V-1 launch pads in a B-24 Liberator, bombing Pisa, and engaging submarines over the Atlantic in a B-25 Mitchell, and conducting reconnaissance over enemy-held territory in an L-5 Grasshopper. Prince Bernhard was awarded the Dutch Airman's Cross for his "ability and perseverance" (Dutch: "bekwaamheid en volharding"). In 1941 he also received a promotion to Honorary Air Commodore.
He also helped organise the Dutch resistance movement and acted as the personal secretary for Queen Wilhelmina.
Queen Wilhelmina erased the style "honorary" (the exact words were "à la suite") in the decree promoting Bernhard to General. In this unconstitutional manner, she gave this Royal Prince a status that was never intended by either Parliament or her Ministers. The Minister of Defence did not choose to correct the Monarch, and the Prince took an active and important role in the Dutch Armed forces.
By 1944, Prince Bernhard became Commander of the Dutch Armed Forces. After the liberation of the Netherlands, he returned with his family and became active in the negotiations for the German surrender. He was present during the Armistice negotiations and German surrender at Hotel de Wereld ("The World Hotel"), Wageningen in The Netherlands on 5 May 1945, where he avoided speaking German.
The Prince was a genuine war hero in the eyes of most of the Dutch; he kept cordial relations with the Communists who fought against the Nazis. In the post-war years, he earned respect for his work in helping to reinvigorate the economy of the Netherlands.
Postwar roles
After the War, the position of Inspector General was created for the Prince.
On the 4th of September 1948, his mother in law Queen Wilhelmina abdicated the throne and Juliana became Queen of the Netherlands and Bernhard became Prince Consort of the Netherlands. He was made a member of the boards of supervisors of Fokker Aircraft and KLM Royal Dutch Airlines, and within a few years he had been invited to serve as an adviser or non-executive director of numerous corporations and institutions. There have been claims that KLM helped Nazis to leave Germany for Argentina on KLM flights while Bernhard was on its board. After a 1952 trip with Queen Juliana to the United States, Prince Bernhard was heralded by the media as a business ambassador extraordinaire for the Netherlands.
With his global contacts having been approached by the secretive Polish diplomat, Józef Retinger, in May 1954 Bernhard was a key figure in organising a meeting at the Bilderberg Hotel in the Netherlands for the business elite and intellectuals of the Western World to discuss the economic problems in the face of what they characterised as the growing threat from Communism. This first meeting was successful, and it became an annual gathering known as the Bilderberg Group. The idea for the European Union, first proposed by Robert Schuman on 9 May 1950, was encouraged at Bilderberg.
Prince Bernhard was a very outspoken person who often flouted protocol by remarking upon subjects about which he felt deeply. Almost until his last day, he called for more recognition for the Polish veterans of the Second World War, who had figured greatly in the liberation of the Netherlands. But it was not until after his death that the Dutch Government publicly recognised the important role of the Polish Army in the liberation: on 31 May 2006, at the Binnenhof in The Hague, Queen Beatrix conferred the Military William Order, the highest Dutch military decoration, on the Polish 1st Independent Parachute Brigade. The award is now worn by the 6th Airborne Brigade which inherited the battle honours of the brigade.
Friendships and international connections
Prince Bernhard was seen as a jet-setting and charismatic ambassador for the Dutch during post-war reconstruction. Because of his connections, Prince Bernhard reportedly maintained friendships with several high-profile international figures. They included Nelson Mandela, David Rockefeller, Mohammad Reza Pahlavi, Ian Fleming, and Walter Bedell Smith.
Scandals and rumours
Hofmans Affair
In the mid-1950s, Queen Juliana and Prince Bernhard's marriage faced significant strain because of the ongoing influence of Greet Hofmans, a faith healer and layer-on of hands. For nine years she acted as a confidante and adviser to Queen Juliana, often residing at Palace Soestdijk. Originally, Hofmans was introduced to Queen Juliana at the initiative of Prince Bernhard in 1948 to treat an eye illness of their youngest daughter, Princess Christina (then still called Marijke). This illness arose because Juliana was infected with rubella during pregnancy. Hofmans developed a great influence on the Queen, encouraging pacifist ideas. In the period of the Cold War, this caused a crisis in the Royal Household.
While the Dutch press did not report widely on the issue, outside the Netherlands, a great deal was written about the Hofmans affair. On 13 June 1956, an article was published in the German magazine Der Spiegel, titled "Zwischen Königin und Rasputin" – "between the Queen and her Rasputin". It portrayed Hofmans in a less-than-flattering way. Later, Bernhard admitted that he had personally provided the information for the article. Observers said that, in doing so, he hoped to have Hofmans removed from the court. In the face of escalating tensions, the Prime Minister, Willem Drees appointed a committee of "three wise men" (elder statesmen) to advise the royal couple. Hofmans was banished as were various allies and supporters who had grown to prominence within the Royal Household.
In 2008 the report of the "three wise men" was made public. Historian Cees Fasseur drew from it for his book, Juliana & Bernhard (2008); in addition, the Queen had granted him access to the private royal archive. He noted that Bernhard was reprimanded in 1956 for having leaked confidential information to the international press. Fasseur said that Bernhard resorted to bringing in the international press only after repeated, desperate and often dramatic pleading with his wife to distance herself from the Hofmans group. Fasseur wrote:
"Bernard was obviously a free spirited chap, who independently went about his business. But he was still very much a family man. I got the feeling he was the only one that was seeing things were getting completely out of hand and tried to salvage the situation as much as he could."
Lockheed scandal
Scandal rocked the Royal family in 1976 when the press reported that Prince Bernhard had accepted a US$1.1 million bribe from U.S. aircraft manufacturer Lockheed Corporation to influence the Dutch government's purchase of fighter aircraft. At the time he had served on more than 300 corporate boards and committees worldwide and had been praised in the Netherlands for his efforts to promote the economic well-being of the country. Prime Minister of the Netherlands Joop den Uyl ordered an inquiry into the Lockheed affair. Prince Bernhard refused to answer reporters' questions, stating: "I am above such things".
The Dutch and international press headlined the stories for months. They also brought up records of Prince Bernhard's Reiter SS membership and details of his numerous extramarital affairs. They noted he had purchased a luxurious Paris apartment for his mistress Hélène Grinda (granddaughter of Édouard Grinda), with whom he had a daughter, Alexia, who was illegitimate. Bernhard had an older illegitimate daughter, Alicia, born in the United States (with a German pilot whom he met in Mexico in 1951).
On 26 August 1976, a full report of Prince Bernhard's activities was released to a shocked Dutch public. The Prince's own letter of 1974, to Lockheed Corporation, was publicised; he had demanded "commissions" be paid to him on Dutch government aircraft purchases. This was very damaging evidence of improper conduct by the man who was Inspector-General of the Dutch Armed Forces. Out of respect for Queen Juliana, the government did not press charges against Bernhard.
Prince Bernhard resigned as Inspector-General of the Dutch Armed Forces. He was no longer officially allowed to wear a uniform in public. But a few years later, he was in full military dress when he attended the 1979 funeral of Lord Mountbatten in London.
Prime Minister Joop den Uyl made a statement in Parliament and told the delegates that the Prince would also resign from his various high-profile positions in businesses, charities, and other institutions. The Dutch States-General voted against criminal prosecution. Prince Bernhard turned over the Presidency of the international World Wildlife Fund to Prince Philip, Duke of Edinburgh.
In an interview published after his death, on 14 December 2004, Prince Bernhard admitted that he had accepted more than one million dollars (US) in bribes from Lockheed. He acknowledged it was a mistake and claimed that all of the money went to the WWF. He said: "I have accepted that the word Lockheed will be carved on my tombstone." He also confirmed having fathered two illegitimate daughters.
In February 2008, Joop den Uyl's biography claimed that the official report investigating the Lockheed bribe scandal also presented proof that the Prince had accepted money from yet another aerospace firm: Northrop. The former Prime Minister claimed he had not made the information public to protect the Dutch monarchy.
Project Lock
In 1988, Prince Bernhard and Princess Juliana sold two paintings from their personal collection to raise money for the World Wildlife Fund. The paintings sold for GBP700,000, which was deposited in a Swiss WWF bank account. In 1989, however, Charles de Haes, Director-General of the WWF, transferred GBP500,000 back to Bernhard, for what De Haes called a private project. In 1991, newspapers reported what this private project was: Prince Bernhard had hired KAS International, owned by Special Air Service founder Sir David Stirling, to use mercenaries – mostly British – to fight poachers in nature reserves. The paramilitary group infiltrated organisations profiting from illegal trade in ivory in order to arrest them.
This Project Lock seemed to have backfired enormously, however. The hired mercenaries had not only infiltrated the illegal trade, they were also participating in it.
In 1995, Nelson Mandela called upon the Kumleben Commission to investigate, among other things, the role of the WWF in apartheid-South Africa. In the report that followed, it was suggested that mercenaries from Project Lock had planned assassinations of ANC members and that mercenaries had been running training camps in the wildlife reserves, training fighters from the anti-communist groups UNITA and Renamo. Prince Bernhard was never accused of any crime in this context but the Project Lock scandal negatively impacted the Prince's reputation.
Additional controversies and rumours
Prince Bernhard garnered media attention when, on 30 October 2002, he paid the fines of two Albert Heijn supermarket staff members, who were convicted of assaulting a shoplifter after they detained him.
The 2009 publication HRH: High Stakes at the Court of His Royal Highness by historian Harry Veenendaal and journalist Jort Kelder alleges that the Prince in 1950 attempted to oust the young government of the newly founded Republic of Indonesia and place himself to lead the Islands as Viceroy similar to Lord Mountbatten's role in British India. This was particularly contentious as in 1949 the Netherlands had already officially recognised its former colony as an independent nation.
A 2016 biography by Jolande Withuis about his wife queen Juliana, titled Juliana, posited further rumours including that he had once sexually assaulted a minor, that he had refused to divorce the queen twice, and that later on during their final years in life he prohibited Juliana from seeing him.
Death
In 1994 the Prince had a colon tumor removed and suffered severe complications due to respiratory distress. In December, his daughter Queen Beatrix rushed to the hospital straight after landing from a trip to Africa. By Christmas the prospect of death had faded and spring the next year he recovered enough to go home. His health problems continued in 1998 when he had a prostate swelling and in 1999 when he suffered difficulties breathing and talking. He did, however, attend the wedding of his grandson, straight after having prostate surgery. In 2000, his life was endangered again when he suffered neurological complications and continued breathing problems. Two days after intensive medical (and media) attention the Royal Press Office issued a statement the Prince was reading newspapers again.
Over the following years Bernhard continued to appear at the military parades on the national liberation day celebrating the defeat of Nazi Germany. Only when his wife Juliana died in March 2004 did the Prince become exceedingly fragile. Up to the last moment it remained uncertain if he could attend the royal funeral, which he eventually managed to attend. He said his final farewells to his war comrades on Liberation Day in May and in November that same year he was diagnosed with untreatable cancer.
Prince Bernhard died of lung cancer at the age of 93 at University Medical Center Utrecht in Utrecht on 1 December 2004, two years after the death of his son-in-law Prince Claus; his death suffered from malignant lung and intestinal tumors. On 11 December 2004, he was interred with a state funeral at the Nieuwe Kerk, Delft. Bernhard's funeral was different from those of Prince Claus and Queen Juliana in that Bernhard's coffin was transported on the undercarriage of a cannon instead of in the traditional carriage used when the coffins of Prince Claus and Queen Juliana were transported to Delft. Together with the playing of many military marches and the forming of guards of honour by Second World War veterans this gave the funeral procession a military character as the late Prince, a Second World War veteran, had wished. As a final tribute to his former military role in the Royal Netherlands Air Force, three modern F-16 jet fighters and a World War II Spitfire plane performed a low flypast during the funeral in a classic missing man formation.
In popular culture
In the years after Bernhard died his life story has been the inspiration for literature, theatre, television and comic books. In 2010 fact and fiction of the life of Bernhard was portrayed in a Dutch television series. In a biographical dissertation by Dutch journalist and historian Annejet van der Zijl published in March 2010, Bernhard was called "a failure" in the history of the Dutch Royal Family and a "creature of his own myths".
Titles, styles and honours
Titles
29 June 1911 – 1916: Count Bernhard of Biesterfeld
1916 – 7 January 1937: His Serene Highness Prince Bernhard of Lippe-Biesterfeld
7 January 1937 – 6 September 1948: His Royal Highness Prince Bernhard of the Netherlands, Prince of Lippe-Biesterfeld
6 September 1948 – 30 April 1980: His Royal Highness The Prince of the Netherlands
30 April 1980 – 1 December 2004: His Royal Highness Prince Bernhard of the Netherlands, Prince of Lippe-Biesterfeld
Honours
National honours
Knight Commander of the Military William Order
Knight Grand Cross of the Order of the Netherlands Lion
Knight Grand Cross of the Order of Orange-Nassau
Grand Master Knight Commander of the Order of the Golden Ark, 1st Class
Knight Commander of the Order of St. John in the Netherlands
Recipient of the Airman's Cross
Recipient of the Queen Juliana Inauguration Medal
Foreign honours
: Grand Cross of the Order of the Liberator General San Martín
: Grand Star Decoration for Services to the Republic of Austria, Gold
: Knight Grand Cross of the Order of Leopold I
: Recipient of the War Cross Medal 1939–1945
: Grand Cross of the Order of the Southern Cross
: Grand Cross of the Order of Valour
: Grand Cross of the Order of the White Lion
: Recipient of the Czechoslovak War Cross 1939–1945
: Grand Cross of the Order of Merit
: Grand Cross of the Order of Boyaca, Special Class
: Knight of the Order of the Elephant
: Grand Cross of the Order of Merit of Duarte, Sánchez and Mella, Silver
: Grand Cross of the Order of Abdon Calderón
Ethiopian Imperial Family: Knight Grand Cordon with Collar of the Order of the Queen of Sheba
: Grand Cross of the Order of the White Rose of Finland
: Grand Cross of the Order of the Legion of Honour
: Commander of the Order of Academic Palms
: Recipient of the Aeronautical Medal
: Grand Cross of the Order of Merit of the Federal Republic of Germany, Special Issue
Greece
Greek Royal Family: Knight Grand Cross of the Order of George I
: Recipient of the 1940 War Cross Medal
: Grand Cross of the Order of Santa Rosa and of Civilisation
: Adipurna Grand Cross of the Order of the star of Mahaputera
Iranian Imperial Family: Knight Grand Cordon of the Order of the Lion and the Sun
Iranian Imperial Family: Recipient of the Commemorative Medal of the 2,500 year Celebration of the Persian Empire
: Grand Cross of the Order of Merit of the Italian Republic
: Grand Cross of the National Order of the Ivory Coast
: Knight Grand Cordon of the Order of the Rising Sun
: Grand Cross of the Order of the Pioneers of Liberia
: Knight Grand Cross of the Order of the Gold Lion of the House of Nassau
: Recipient of the War Cross Medal 1939–1945
: Grand Cross of the Order of the Aztec Eagle, Special Class
Nepal: Member Grand Cross of the Order of Ojaswi Rajanya
: Grand Cross of the Order of Rubén Darío, Special Class
: Knight Grand Cross of the Order of Saint Olav
: Grand Cross of the Order of Manuel Amador Guerrero
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World Wide Fund for Nature
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[
"Waaris was a Hindi television serial that aired on Zee TV in 1999. It is the story of two siblings – a legitimate and an illegitimate daughter and their animosity towards each other over the will of their father. The show was produced by Manish Goswami.\n\nPlot\nThe story revolves around the lives of two stepsisters Nandita and Arundhati. They are both the daughters of a rich business tycoon, Ranjit Sharma. The legitimate daughter of Ranjit Sharma is Arundhati and the illegitimate daughter is Nandita. By a strange twist of circumstance, the illegitimate daughter is blessed with financial well-being, while the legitimate daughter is saddled with the fathers debts. The story then traces the ways and means adopted by each to out-do the other.\n\nCast\nAshutosh Rana\nIravati Harshe\nJoy Sengupta\nMakrand Deshpande\nSonam Malhotra\nDaya Shankar Pandey\nShishir Sharma\n\nExternal links\nOfficial Website on Siddhant Cinevision\n\nIndian television soap operas\nZee TV original programming\n1999 Indian television series debuts\n1999 Indian television series endings",
"Pierce Somerset Butler (26 January 1801 – 28 July 1865) was an Irish politician in the United Kingdom House of Commons.\n\nHe was the son of Hon. Pierce Butler and Anne March. He married Jessy Anne Bryan on 3 February 1835 in London at St George's, Hanover Square. They had two daughters.\n\nHe attended Trinity College Dublin. Later he was elected to the United Kingdom House of Commons as Member of Parliament for County Kilkenny in 1843, and held the seat until 1852. For the first three years he served in this position with his father. Like his father he was not in favour of the Act of Union and discussed the repeal of this Act.\n\nButler was also Chairman of the Waterford and Kilkenny Railway Company. In 1854 he was involved in the Case of Pierce Somerset Butler v Viscount Mountgarret. \"Verdict for plaintiff who thus came into a peerage, defendant being proved illegitimate\"\n\nReferences\n\n \n \n \n\n1801 births\n1865 deaths\nMembers of the Parliament of the United Kingdom for County Kilkenny constituencies (1801–1922)\nUK MPs 1841–1847\nUK MPs 1847–1852\nAlumni of Trinity College Dublin"
] |
[
"Prince Bernhard of Lippe-Biesterfeld",
"Marriage and children",
"Was he married?",
"they were married at The Hague on 7 January 1937.",
"Who was he married to?",
"Princess Juliana",
"Did they have any children?",
"Prince Bernhard was father of six children,",
"Did either him or Juliana have children outside of the marriage?",
"He had two illegitimate daughters.",
"Where they conceived before his marriage to Princess Juliana?",
"The first is Alicia von Bielefeld (born 21 June 1952),",
"Who was the second daughter?",
"Prince Bernhard's sixth daughter, Alexia Grinda (a.k.a. Alexia Lejeune or Alexia Grinda-Lejeune, born in Paris on 10 July 1967",
"Who was her mother?",
"Alexia Grinda-Lejeune, born in Paris on 10 July 1967), is his child by the French socialite and fashion model Helene Grinda.",
"Was he involved with the two illegitimate daughters?",
"I don't know."
] |
C_6a2082aebb474143978bf0f0adc8d517_1
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Are there any other interesting aspects about this article?
| 9 |
Are there any other interesting aspects about this article besides two illegitimate daughters of Prince Bernhard of Lippe-Biesterfeld?
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Prince Bernhard of Lippe-Biesterfeld
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Bernhard met then-Princess Juliana at the 1936 Winter Olympics at Garmisch-Partenkirchen. Juliana's mother, Queen Wilhelmina, had spent most of the 1930s looking for a suitable husband for Juliana. As a Protestant of royal rank (the Lippe-Biesterfelds were a sovereign house in the German Empire), Bernhard was acceptable for the devoutly religious Wilhelmina. Wilhelmina left nothing to chance, and had her lawyers draft a very detailed prenuptial agreement that specified exactly what Bernhard could and could not do. The couple's engagement was announced on 8 September 1936, and they were married at The Hague on 7 January 1937. Earlier, Bernhard had been granted Dutch citizenship, and changed the spelling of his names from German to Dutch. Previously styled as Serene Highness, he became a Royal Highness by Dutch Law. His appropriateness as consort of the future Queen would later become a matter of some public debate. Prince Bernhard was father of six children, four of them with Queen Juliana. The eldest daughter is Princess Beatrix, former Queen of the Netherlands, (1938). His other daughters with Juliana are Irene (1939), Margriet (1943) and Christina (1947). He had two illegitimate daughters. The first is Alicia von Bielefeld (born 21 June 1952), whose mother has not been identified. She is a landscape architect and lives in the United States. Prince Bernhard's sixth daughter, Alexia Grinda (a.k.a. Alexia Lejeune or Alexia Grinda-Lejeune, born in Paris on 10 July 1967), is his child by the French socialite and fashion model Helene Grinda. Although rumours about these two children had already spread, it was made official after his death. In December 2008, Dutch historian Cees Fasseur claimed that former British Conservative Cabinet Minister Jonathan Aitken was the result of a wartime affair between Prince Bernhard and Aitken's mother, previously Penelope Maffey. CANNOTANSWER
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Juliana's mother, Queen Wilhelmina, had spent most of the 1930s looking for a suitable husband for Juliana.
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Prince Bernhard of Lippe-Biesterfeld (later Prince Bernhard of the Netherlands, ; 29 June 1911 – 1 December 2004) was a German-born nobleman who was the consort to Queen Juliana of the Netherlands; they were the parents of four children, including Beatrix, who was Queen of the Netherlands from 1980 to 2013.
He belonged to the princely House of Lippe and was a nephew of the Principality of Lippe's last sovereign Leopold IV. From birth he held the title Count of Biesterfeld; his uncle raised him to princely rank with the style of Serene Highness in 1916. He studied law and worked as an executive secretary at the Paris office of IG Farben. In 1937 he married Princess Juliana of the Netherlands and was immediately given the title Prince of the Netherlands with the style of Royal Highness. Upon his wife's accession to the throne in 1948, he became the prince consort of the Netherlands.
Although his private life was rather controversial, Prince Bernhard was still generally regarded as a popular figure by the majority of the Dutch for his performance as a combat pilot and his activities as a liaison officer and personal aide to Queen Wilhelmina during World War II, and for his work during post-war reconstruction. During World War II, he was part of the London-based Allied war planning councils. He saw active service as a Wing Commander (RAF), flying both fighter and bomber planes into combat. He was a Dutch general and Supreme Commander of the Dutch Armed forces, involved in negotiating the terms of surrender of the German Army in the Netherlands. For proven bravery, leadership and loyalty during his wartime efforts, he was appointed a Commander of the Military William Order, the Netherlands' oldest and highest honour. After the war he was made Honorary Air Marshal of the Royal Air Force by Queen Elizabeth II of the United Kingdom. In 1969, Bernhard was awarded the Grand Cross (Special Class) of the Order of Merit of the Federal Republic of Germany.
Bernhard helped found the World Wildlife Fund (later renamed World Wide Fund for Nature), becoming its first president in 1961. In 1970, along with Prince Philip, Duke of Edinburgh and other associates, he established the WWF's financial endowment "The 1001: A Nature Trust". In 1954, he was a co-founder of the international Bilderberg Group, which has met annually since then to discuss corporate globalisation and other issues concerning Europe and North America. He was forced to step down from both groups after being involved in the Lockheed Bribery Scandal in 1976.
Early life
Bernhard was born Bernhard Leopold Friedrich Eberhard Julius Kurt Karl Gottfried Peter, Count of Biesterfeld in Jena, Saxe-Weimar-Eisenach, German Empire on 29 June 1911, the elder son of Prince Bernhard of Lippe and his wife, Baroness Armgard von Sierstorpff-Cramm. He was a grandson of Ernest, Count of Lippe-Biesterfeld, who was regent of the Principality of Lippe until 1904. He was also a nephew of the principality's last sovereign, Leopold IV, Prince of Lippe.
Because his parents' marriage did not conform with the marriage laws of the House of Lippe, it was initially deemed morganatic, so Bernhard was granted only the title of Count of Biesterfeld at birth. He and his brother could succeed to the Lippian throne only if the entire reigning House became extinct. In 1916, his uncle Leopold IV as reigning Prince raised Bernhard and his mother to Prince and Princess of Lippe-Biesterfeld, thereby retroactively according his parents' marriage dynastic status. The suffix Biesterfeld was revived to mark the beginning of a new cadet line of the House of Lippe.
After World War I, Bernhard's family lost their German Principality and the revenue that had accompanied it. But the family was still reasonably well-off. Bernhard spent his early years at Reckenwalde castle (Wojnowo, Poland), the family's new estate in East Brandenburg, thirty kilometres east of the River Oder. He was taught privately and received his early education at home. When he was twelve, he was sent to board at the Gymnasium in Züllichau (Sulechów). Several years later he was sent to board at a Gymnasium in Berlin, from which he graduated in 1929.
Bernhard suffered from poor health as a boy. Doctors predicted that he would not live very long. This prediction might have inspired Bernhard's reckless driving and the risks that he took in the Second World War and thereafter. The prince wrecked several cars and planes in his lifetime.
Bernhard studied law at the University of Lausanne, Switzerland and in Berlin. In the latter city, he also acquired a taste for fast cars, horse riding, and big-game hunting safaris. He was nearly killed in a boating accident and an aeroplane crash. He suffered a broken neck and crushed ribs in a 160 km/h (100 mph) car crash in 1938.
While at university, Bernhard joined the Nazi Party. He also enrolled in the Sturmabteilung (SA), which he left in December 1934 when he graduated and went to work for IG Farben. The Prince later denied that he had belonged to SA, to the Reiter-SS (SS Cavalry Corps), and to the NSKK, but these are well-documented memberships. While he was not a fierce champion of democracy, the Prince was never known to hold any radical political views or express any racist sentiments, although he admitted that he briefly had sympathised with Adolf Hitler's regime.
The Prince eventually went to work for the German chemical giant IG Farben in the early 1930s, then the world's fourth-largest company. (It survives today as BASF, AGFA, and Bayer). He joined the statistics department of IG Farben's Berlin N.W. 7 department, the key Nazi overseas espionage center (known as VOWI) that evolved into the economic intelligence arm of the Wehrmacht. He lodged with Count Paul von Kotzebue (1884-1966), an exiled Russian nobleman of German descent, and his wife Allene Tew, who was born in the United States. After training, Bernhard became secretary in 1935 to the board of directors at the Paris office.
Marriage and children
Bernhard met then-Princess Juliana at the 1936 Winter Olympics at Garmisch-Partenkirchen. Juliana's mother, Queen Wilhelmina, had spent most of the 1930s looking for a suitable husband for Juliana. As a Protestant of royal rank (the Lippes were a sovereign house in the German Empire), Bernhard was deemed acceptable for the devoutly religious Wilhelmina. They were distantly related, 7th cousins in particular, both descending from Lebrecht, Prince of Anhalt-Zeitz-Hoym. Wilhelmina left nothing to chance, and had her lawyers draft a very detailed prenuptial agreement that specified exactly what Bernhard could and could not do. The couple's engagement was announced on 8 September 1936, and they were married at The Hague on 7 January 1937. Earlier, Bernhard had been granted Dutch citizenship and changed the spelling of his names from German to Dutch. Previously styled as Serene Highness, he became a Royal Highness by Dutch law. His appropriateness as consort of the future Queen would later become a matter of some public debate.
Prince Bernhard fathered six children, four of them with Queen Juliana. The eldest daughter is Beatrix, (born 1938), who later became Queen of the Netherlands. His other daughters with Juliana are Irene (born 1939), Margriet (born 1943) and Christina (1947–2019).
He had two "natural", or illegitimate, daughters. The first is Alicia von Bielefeld (born in San Francisco on 21 June 1952), whose mother has been identified as Alicia Webber, a 19 years old German national, illegitimate daughter of German aviator and test pilot Hanna Reitsch. Von Bielefeld has become a landscape architect and lives in the United States. His sixth daughter, Alexia Grinda (a.k.a. Alexia Lejeune or Alexia Grinda-Lejeune, born in Paris on 10 July 1967), is his child by Hélène Grinda, a French socialite and fashion model. Although rumours about these two children were already widespread, their status as his daughters was made official after his death. In December 2008, Dutch historian Cees Fasseur claimed that Jonathan Aitken, former British Conservative Cabinet Minister, was also a child of Prince Bernhard, the result of his wartime affair with Penelope Maffey.
Attitudes to Nazi Germany
Prince Bernhard was a member of the "Reiter-SS", a mounted unit of the SS and had joined the Nazi party before the war. He later also joined the National Socialist Motor Corps.
Various members of his family and friends were aligned with the Nazis prior to the Second World War, and a number of them attended the royal wedding. Protocol demanded that the prospective Prince-Consort be invited to an audience with his head of state, who at the time was Adolf Hitler. Hitler gave an account of the conversation he had with Bernhard in his Tischgespräche (Table Conversations). This book was a collection of monologues, remarks, and speeches Hitler gave during lunch or dinner to those he had invited.
The Prince's brother, Prince Aschwin of Lippe-Biesterfeld, was an officer in the German Army. Although the secret services on both sides were interested in this peculiar pair of brothers, no improper contacts or leaks of information were ever discovered. He cut off relations with those members of his family who were enthusiastic Nazis. As a sign of his "Dutchness", near the end of the war, he spoke only Dutch when negotiating the surrender of German forces in the Netherlands.
Second World War
At the outset of the Second World War, during the German invasion of the Netherlands, the Prince, carrying a machine gun, organised the palace guards into a combat group and shot at German warplanes. The Royal family fled the Netherlands and took refuge in England. Disagreeing with Queen Wilhelmina's decision to leave the Kingdom, the young Prince Consort, aged 28, is said at first to have refused to go and to have wanted to oppose the Nazi occupation from within the country. However, in the end, he agreed to join his wife and became head of the Royal Military Mission based in London. His wife Princess Juliana and their children continued on to Canada, where they remained until the end of the war.
In England, Prince Bernhard asked to work in British Intelligence. The War Admiralty, and later General Eisenhower's Allied Command offices, did not trust him enough to allow him access to sensitive intelligence information. On the recommendation of Bernhard's friend and admirer King George VI, however, who was also of German aristocratic descent through his mother Mary of Teck and his great-grandfather Prince Albert, and after Bernhard was personally screened by British intelligence officer Ian Fleming at the behest of Churchill, he was later given work to do in the Allied War Planning Councils.
"For Bernhard, the Prince of the Netherlands, the war was a frustrating business. Born a German, he had married Queen Wilhelmina's only child, Princess Juliana, and in due time made a conscious and meaningful transition of loyalties to his new homeland. Because of this, and in view of the doubts his background initially evoked among some Britons, he longed more than anyone for a chance to get at Holland's aggressors." Erik Hazelhoff Roelfzema aka "Soldier of Orange", decorated war hero.
On 25 June 1940, three days after France fell to the German war machine, Bernhard spoke on the Overseas Service of the BBC. He called Hitler a German tyrant and expressed his confidence that Britain would defeat the Third Reich.
In 1940, Flight Lieutenant Murray Payne gave the prince instruction in flying a Spitfire. The prince made 1,000 flight-hours in a Spitfire with the RAF's No. 322 (Dutch) Squadron RAF, wrecking two planes during landings. He remained an active pilot throughout his life and flew his last aeroplane 53 years later, with his grandson and heir to the throne, who inherited his passion for flying.
In 1941, Prince Bernhard was given the honorary rank of wing commander in the Royal Air Force. As "Wing Commander Gibbs (RAF)", Prince Bernhard flew over occupied Europe, attacking V-1 launch pads in a B-24 Liberator, bombing Pisa, and engaging submarines over the Atlantic in a B-25 Mitchell, and conducting reconnaissance over enemy-held territory in an L-5 Grasshopper. Prince Bernhard was awarded the Dutch Airman's Cross for his "ability and perseverance" (Dutch: "bekwaamheid en volharding"). In 1941 he also received a promotion to Honorary Air Commodore.
He also helped organise the Dutch resistance movement and acted as the personal secretary for Queen Wilhelmina.
Queen Wilhelmina erased the style "honorary" (the exact words were "à la suite") in the decree promoting Bernhard to General. In this unconstitutional manner, she gave this Royal Prince a status that was never intended by either Parliament or her Ministers. The Minister of Defence did not choose to correct the Monarch, and the Prince took an active and important role in the Dutch Armed forces.
By 1944, Prince Bernhard became Commander of the Dutch Armed Forces. After the liberation of the Netherlands, he returned with his family and became active in the negotiations for the German surrender. He was present during the Armistice negotiations and German surrender at Hotel de Wereld ("The World Hotel"), Wageningen in The Netherlands on 5 May 1945, where he avoided speaking German.
The Prince was a genuine war hero in the eyes of most of the Dutch; he kept cordial relations with the Communists who fought against the Nazis. In the post-war years, he earned respect for his work in helping to reinvigorate the economy of the Netherlands.
Postwar roles
After the War, the position of Inspector General was created for the Prince.
On the 4th of September 1948, his mother in law Queen Wilhelmina abdicated the throne and Juliana became Queen of the Netherlands and Bernhard became Prince Consort of the Netherlands. He was made a member of the boards of supervisors of Fokker Aircraft and KLM Royal Dutch Airlines, and within a few years he had been invited to serve as an adviser or non-executive director of numerous corporations and institutions. There have been claims that KLM helped Nazis to leave Germany for Argentina on KLM flights while Bernhard was on its board. After a 1952 trip with Queen Juliana to the United States, Prince Bernhard was heralded by the media as a business ambassador extraordinaire for the Netherlands.
With his global contacts having been approached by the secretive Polish diplomat, Józef Retinger, in May 1954 Bernhard was a key figure in organising a meeting at the Bilderberg Hotel in the Netherlands for the business elite and intellectuals of the Western World to discuss the economic problems in the face of what they characterised as the growing threat from Communism. This first meeting was successful, and it became an annual gathering known as the Bilderberg Group. The idea for the European Union, first proposed by Robert Schuman on 9 May 1950, was encouraged at Bilderberg.
Prince Bernhard was a very outspoken person who often flouted protocol by remarking upon subjects about which he felt deeply. Almost until his last day, he called for more recognition for the Polish veterans of the Second World War, who had figured greatly in the liberation of the Netherlands. But it was not until after his death that the Dutch Government publicly recognised the important role of the Polish Army in the liberation: on 31 May 2006, at the Binnenhof in The Hague, Queen Beatrix conferred the Military William Order, the highest Dutch military decoration, on the Polish 1st Independent Parachute Brigade. The award is now worn by the 6th Airborne Brigade which inherited the battle honours of the brigade.
Friendships and international connections
Prince Bernhard was seen as a jet-setting and charismatic ambassador for the Dutch during post-war reconstruction. Because of his connections, Prince Bernhard reportedly maintained friendships with several high-profile international figures. They included Nelson Mandela, David Rockefeller, Mohammad Reza Pahlavi, Ian Fleming, and Walter Bedell Smith.
Scandals and rumours
Hofmans Affair
In the mid-1950s, Queen Juliana and Prince Bernhard's marriage faced significant strain because of the ongoing influence of Greet Hofmans, a faith healer and layer-on of hands. For nine years she acted as a confidante and adviser to Queen Juliana, often residing at Palace Soestdijk. Originally, Hofmans was introduced to Queen Juliana at the initiative of Prince Bernhard in 1948 to treat an eye illness of their youngest daughter, Princess Christina (then still called Marijke). This illness arose because Juliana was infected with rubella during pregnancy. Hofmans developed a great influence on the Queen, encouraging pacifist ideas. In the period of the Cold War, this caused a crisis in the Royal Household.
While the Dutch press did not report widely on the issue, outside the Netherlands, a great deal was written about the Hofmans affair. On 13 June 1956, an article was published in the German magazine Der Spiegel, titled "Zwischen Königin und Rasputin" – "between the Queen and her Rasputin". It portrayed Hofmans in a less-than-flattering way. Later, Bernhard admitted that he had personally provided the information for the article. Observers said that, in doing so, he hoped to have Hofmans removed from the court. In the face of escalating tensions, the Prime Minister, Willem Drees appointed a committee of "three wise men" (elder statesmen) to advise the royal couple. Hofmans was banished as were various allies and supporters who had grown to prominence within the Royal Household.
In 2008 the report of the "three wise men" was made public. Historian Cees Fasseur drew from it for his book, Juliana & Bernhard (2008); in addition, the Queen had granted him access to the private royal archive. He noted that Bernhard was reprimanded in 1956 for having leaked confidential information to the international press. Fasseur said that Bernhard resorted to bringing in the international press only after repeated, desperate and often dramatic pleading with his wife to distance herself from the Hofmans group. Fasseur wrote:
"Bernard was obviously a free spirited chap, who independently went about his business. But he was still very much a family man. I got the feeling he was the only one that was seeing things were getting completely out of hand and tried to salvage the situation as much as he could."
Lockheed scandal
Scandal rocked the Royal family in 1976 when the press reported that Prince Bernhard had accepted a US$1.1 million bribe from U.S. aircraft manufacturer Lockheed Corporation to influence the Dutch government's purchase of fighter aircraft. At the time he had served on more than 300 corporate boards and committees worldwide and had been praised in the Netherlands for his efforts to promote the economic well-being of the country. Prime Minister of the Netherlands Joop den Uyl ordered an inquiry into the Lockheed affair. Prince Bernhard refused to answer reporters' questions, stating: "I am above such things".
The Dutch and international press headlined the stories for months. They also brought up records of Prince Bernhard's Reiter SS membership and details of his numerous extramarital affairs. They noted he had purchased a luxurious Paris apartment for his mistress Hélène Grinda (granddaughter of Édouard Grinda), with whom he had a daughter, Alexia, who was illegitimate. Bernhard had an older illegitimate daughter, Alicia, born in the United States (with a German pilot whom he met in Mexico in 1951).
On 26 August 1976, a full report of Prince Bernhard's activities was released to a shocked Dutch public. The Prince's own letter of 1974, to Lockheed Corporation, was publicised; he had demanded "commissions" be paid to him on Dutch government aircraft purchases. This was very damaging evidence of improper conduct by the man who was Inspector-General of the Dutch Armed Forces. Out of respect for Queen Juliana, the government did not press charges against Bernhard.
Prince Bernhard resigned as Inspector-General of the Dutch Armed Forces. He was no longer officially allowed to wear a uniform in public. But a few years later, he was in full military dress when he attended the 1979 funeral of Lord Mountbatten in London.
Prime Minister Joop den Uyl made a statement in Parliament and told the delegates that the Prince would also resign from his various high-profile positions in businesses, charities, and other institutions. The Dutch States-General voted against criminal prosecution. Prince Bernhard turned over the Presidency of the international World Wildlife Fund to Prince Philip, Duke of Edinburgh.
In an interview published after his death, on 14 December 2004, Prince Bernhard admitted that he had accepted more than one million dollars (US) in bribes from Lockheed. He acknowledged it was a mistake and claimed that all of the money went to the WWF. He said: "I have accepted that the word Lockheed will be carved on my tombstone." He also confirmed having fathered two illegitimate daughters.
In February 2008, Joop den Uyl's biography claimed that the official report investigating the Lockheed bribe scandal also presented proof that the Prince had accepted money from yet another aerospace firm: Northrop. The former Prime Minister claimed he had not made the information public to protect the Dutch monarchy.
Project Lock
In 1988, Prince Bernhard and Princess Juliana sold two paintings from their personal collection to raise money for the World Wildlife Fund. The paintings sold for GBP700,000, which was deposited in a Swiss WWF bank account. In 1989, however, Charles de Haes, Director-General of the WWF, transferred GBP500,000 back to Bernhard, for what De Haes called a private project. In 1991, newspapers reported what this private project was: Prince Bernhard had hired KAS International, owned by Special Air Service founder Sir David Stirling, to use mercenaries – mostly British – to fight poachers in nature reserves. The paramilitary group infiltrated organisations profiting from illegal trade in ivory in order to arrest them.
This Project Lock seemed to have backfired enormously, however. The hired mercenaries had not only infiltrated the illegal trade, they were also participating in it.
In 1995, Nelson Mandela called upon the Kumleben Commission to investigate, among other things, the role of the WWF in apartheid-South Africa. In the report that followed, it was suggested that mercenaries from Project Lock had planned assassinations of ANC members and that mercenaries had been running training camps in the wildlife reserves, training fighters from the anti-communist groups UNITA and Renamo. Prince Bernhard was never accused of any crime in this context but the Project Lock scandal negatively impacted the Prince's reputation.
Additional controversies and rumours
Prince Bernhard garnered media attention when, on 30 October 2002, he paid the fines of two Albert Heijn supermarket staff members, who were convicted of assaulting a shoplifter after they detained him.
The 2009 publication HRH: High Stakes at the Court of His Royal Highness by historian Harry Veenendaal and journalist Jort Kelder alleges that the Prince in 1950 attempted to oust the young government of the newly founded Republic of Indonesia and place himself to lead the Islands as Viceroy similar to Lord Mountbatten's role in British India. This was particularly contentious as in 1949 the Netherlands had already officially recognised its former colony as an independent nation.
A 2016 biography by Jolande Withuis about his wife queen Juliana, titled Juliana, posited further rumours including that he had once sexually assaulted a minor, that he had refused to divorce the queen twice, and that later on during their final years in life he prohibited Juliana from seeing him.
Death
In 1994 the Prince had a colon tumor removed and suffered severe complications due to respiratory distress. In December, his daughter Queen Beatrix rushed to the hospital straight after landing from a trip to Africa. By Christmas the prospect of death had faded and spring the next year he recovered enough to go home. His health problems continued in 1998 when he had a prostate swelling and in 1999 when he suffered difficulties breathing and talking. He did, however, attend the wedding of his grandson, straight after having prostate surgery. In 2000, his life was endangered again when he suffered neurological complications and continued breathing problems. Two days after intensive medical (and media) attention the Royal Press Office issued a statement the Prince was reading newspapers again.
Over the following years Bernhard continued to appear at the military parades on the national liberation day celebrating the defeat of Nazi Germany. Only when his wife Juliana died in March 2004 did the Prince become exceedingly fragile. Up to the last moment it remained uncertain if he could attend the royal funeral, which he eventually managed to attend. He said his final farewells to his war comrades on Liberation Day in May and in November that same year he was diagnosed with untreatable cancer.
Prince Bernhard died of lung cancer at the age of 93 at University Medical Center Utrecht in Utrecht on 1 December 2004, two years after the death of his son-in-law Prince Claus; his death suffered from malignant lung and intestinal tumors. On 11 December 2004, he was interred with a state funeral at the Nieuwe Kerk, Delft. Bernhard's funeral was different from those of Prince Claus and Queen Juliana in that Bernhard's coffin was transported on the undercarriage of a cannon instead of in the traditional carriage used when the coffins of Prince Claus and Queen Juliana were transported to Delft. Together with the playing of many military marches and the forming of guards of honour by Second World War veterans this gave the funeral procession a military character as the late Prince, a Second World War veteran, had wished. As a final tribute to his former military role in the Royal Netherlands Air Force, three modern F-16 jet fighters and a World War II Spitfire plane performed a low flypast during the funeral in a classic missing man formation.
In popular culture
In the years after Bernhard died his life story has been the inspiration for literature, theatre, television and comic books. In 2010 fact and fiction of the life of Bernhard was portrayed in a Dutch television series. In a biographical dissertation by Dutch journalist and historian Annejet van der Zijl published in March 2010, Bernhard was called "a failure" in the history of the Dutch Royal Family and a "creature of his own myths".
Titles, styles and honours
Titles
29 June 1911 – 1916: Count Bernhard of Biesterfeld
1916 – 7 January 1937: His Serene Highness Prince Bernhard of Lippe-Biesterfeld
7 January 1937 – 6 September 1948: His Royal Highness Prince Bernhard of the Netherlands, Prince of Lippe-Biesterfeld
6 September 1948 – 30 April 1980: His Royal Highness The Prince of the Netherlands
30 April 1980 – 1 December 2004: His Royal Highness Prince Bernhard of the Netherlands, Prince of Lippe-Biesterfeld
Honours
National honours
Knight Commander of the Military William Order
Knight Grand Cross of the Order of the Netherlands Lion
Knight Grand Cross of the Order of Orange-Nassau
Grand Master Knight Commander of the Order of the Golden Ark, 1st Class
Knight Commander of the Order of St. John in the Netherlands
Recipient of the Airman's Cross
Recipient of the Queen Juliana Inauguration Medal
Foreign honours
: Grand Cross of the Order of the Liberator General San Martín
: Grand Star Decoration for Services to the Republic of Austria, Gold
: Knight Grand Cross of the Order of Leopold I
: Recipient of the War Cross Medal 1939–1945
: Grand Cross of the Order of the Southern Cross
: Grand Cross of the Order of Valour
: Grand Cross of the Order of the White Lion
: Recipient of the Czechoslovak War Cross 1939–1945
: Grand Cross of the Order of Merit
: Grand Cross of the Order of Boyaca, Special Class
: Knight of the Order of the Elephant
: Grand Cross of the Order of Merit of Duarte, Sánchez and Mella, Silver
: Grand Cross of the Order of Abdon Calderón
Ethiopian Imperial Family: Knight Grand Cordon with Collar of the Order of the Queen of Sheba
: Grand Cross of the Order of the White Rose of Finland
: Grand Cross of the Order of the Legion of Honour
: Commander of the Order of Academic Palms
: Recipient of the Aeronautical Medal
: Grand Cross of the Order of Merit of the Federal Republic of Germany, Special Issue
Greece
Greek Royal Family: Knight Grand Cross of the Order of George I
: Recipient of the 1940 War Cross Medal
: Grand Cross of the Order of Santa Rosa and of Civilisation
: Adipurna Grand Cross of the Order of the star of Mahaputera
Iranian Imperial Family: Knight Grand Cordon of the Order of the Lion and the Sun
Iranian Imperial Family: Recipient of the Commemorative Medal of the 2,500 year Celebration of the Persian Empire
: Grand Cross of the Order of Merit of the Italian Republic
: Grand Cross of the National Order of the Ivory Coast
: Knight Grand Cordon of the Order of the Rising Sun
: Grand Cross of the Order of the Pioneers of Liberia
: Knight Grand Cross of the Order of the Gold Lion of the House of Nassau
: Recipient of the War Cross Medal 1939–1945
: Grand Cross of the Order of the Aztec Eagle, Special Class
Nepal: Member Grand Cross of the Order of Ojaswi Rajanya
: Grand Cross of the Order of Rubén Darío, Special Class
: Knight Grand Cross of the Order of Saint Olav
: Grand Cross of the Order of Manuel Amador Guerrero
: Grand Cross of the Order of Merit, Special Class
: Grand Cross of the Order of the Sun of Peru
: Grand Cross of the Order of Military Virtue
: Grand Cross of the National Order of Merit
: Bailiff Knight Grand Cross of Honour and Devotion of the Sovereign Military Order of Malta
: Knight Grand Cross of the Order of Charles III
: Grand Cross of the Honorary Order of the Yellow Star
: Knight Grand Cross of the Royal Order of the Seraphim
: Knight Grand Cordon with Chain of the Order of the Royal House of Chakri
: Grand Cross of the Order of Independence
: Honorary Knight Grand Cross of the Order of the Bath
: Honorary Knight Grand Cross of the Royal Victorian Order
: Recipient of the France and Germany Star
: Recipient of the Defence Medal
: Recipient of the King George VI Coronation Medal
: Recipient of the Queen Elizabeth II Coronation Medal
: Officer of the Legion of Merit
: Grand Cross of the Order of the Liberator
: Grand Cross of the Order of Karađorđe's Star
Military ranks
Military ranks of the Armed forces of the Netherlands
Honorary military ranks of foreign armed forces
Ancestry
References
External links
1911 births
2004 deaths
20th-century Calvinist and Reformed Christians
Aide-de-camp to the Monarch of the Netherlands
Burials in the Royal Crypt at Nieuwe Kerk, Delft
Chairmen of the Steering Committee of the Bilderberg Group
Commanders-in-chief of the Armed Forces of the Netherlands
Converts to Calvinism from Lutheranism
Counts of Lippe
Counts of Lippe-Biesterfeld
Deaths from cancer in the Netherlands
Deaths from lung cancer
Deaths from stomach cancer
Dutch animal rights activists
Dutch conservationists
Dutch lobbyists
Dutch members of the Dutch Reformed Church
Dutch nonprofit directors
Dutch nonprofit executives
Dutch people of German descent
Dutch royal consorts
Engelandvaarders
German Calvinist and Reformed Christians
German Lutherans
German royalty
Grand Cordons of the Honorary Order of the Yellow Star
Grand Cordons of the Order of the Rising Sun
Grand Croix of the Légion d'honneur
Grand Crosses Special Class of the Order of Merit of the Federal Republic of Germany
Grand Crosses of the Order of George I
Grand Crosses of the Order of the Sun of Peru
Grand Crosses of the Order of the White Lion
Honorary air commodores
Honorary Knights Grand Cross of the Order of the Bath
Honorary Knights Grand Cross of the Royal Victorian Order
House of Lippe
House of Orange-Nassau
Humboldt University of Berlin alumni
Inspectors general
Knights Commander of the Military Order of William
Knights Grand Cross of the Order of Merit of the Italian Republic
Knights Grand Cross of the Order of Orange-Nassau
Knights of the Order of Saint John in the Netherlands
Knights of the Order of the Netherlands Lion
Lockheed bribery scandals
Members of the Council of State (Netherlands)
Members of the Steering Committee of the Bilderberg Group
National Socialist Motor Corps members
Military personnel from Jena
People from Saxe-Weimar-Eisenach
Political controversies in the Netherlands
Princes of Lippe
Princes of Lippe-Biesterfeld
Protestant Church Christians from the Netherlands
Recipients of the Airman's Cross
Recipients of the Czechoslovak War Cross
Recipients of the Order of Orange-Nassau
Royal Air Force air marshals
Royal Air Force personnel of World War II
Royal Australian Air Force officers
Royal Netherlands Air Force generals
Royal Netherlands Air Force personnel of World War II
Royal Netherlands Air Force pilots
Royal Netherlands Army generals
Royal Netherlands Army personnel of World War II
Royal Netherlands East Indies Army generals
Royal Netherlands East Indies Army officers
Royal Netherlands East Indies Army personnel of World War II
Royal Netherlands Navy admirals
Royal Netherlands Navy personnel of World War II
University of Lausanne alumni
World Wide Fund for Nature
| 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"
] |
[
"Prince Bernhard of Lippe-Biesterfeld",
"Marriage and children",
"Was he married?",
"they were married at The Hague on 7 January 1937.",
"Who was he married to?",
"Princess Juliana",
"Did they have any children?",
"Prince Bernhard was father of six children,",
"Did either him or Juliana have children outside of the marriage?",
"He had two illegitimate daughters.",
"Where they conceived before his marriage to Princess Juliana?",
"The first is Alicia von Bielefeld (born 21 June 1952),",
"Who was the second daughter?",
"Prince Bernhard's sixth daughter, Alexia Grinda (a.k.a. Alexia Lejeune or Alexia Grinda-Lejeune, born in Paris on 10 July 1967",
"Who was her mother?",
"Alexia Grinda-Lejeune, born in Paris on 10 July 1967), is his child by the French socialite and fashion model Helene Grinda.",
"Was he involved with the two illegitimate daughters?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"Juliana's mother, Queen Wilhelmina, had spent most of the 1930s looking for a suitable husband for Juliana."
] |
C_6a2082aebb474143978bf0f0adc8d517_1
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Was Juliana's mother pleased with Bernhard?
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Was Juliana's mother pleased with Prince Bernhard of Lippe-Biesterfeld?
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Prince Bernhard of Lippe-Biesterfeld
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Bernhard met then-Princess Juliana at the 1936 Winter Olympics at Garmisch-Partenkirchen. Juliana's mother, Queen Wilhelmina, had spent most of the 1930s looking for a suitable husband for Juliana. As a Protestant of royal rank (the Lippe-Biesterfelds were a sovereign house in the German Empire), Bernhard was acceptable for the devoutly religious Wilhelmina. Wilhelmina left nothing to chance, and had her lawyers draft a very detailed prenuptial agreement that specified exactly what Bernhard could and could not do. The couple's engagement was announced on 8 September 1936, and they were married at The Hague on 7 January 1937. Earlier, Bernhard had been granted Dutch citizenship, and changed the spelling of his names from German to Dutch. Previously styled as Serene Highness, he became a Royal Highness by Dutch Law. His appropriateness as consort of the future Queen would later become a matter of some public debate. Prince Bernhard was father of six children, four of them with Queen Juliana. The eldest daughter is Princess Beatrix, former Queen of the Netherlands, (1938). His other daughters with Juliana are Irene (1939), Margriet (1943) and Christina (1947). He had two illegitimate daughters. The first is Alicia von Bielefeld (born 21 June 1952), whose mother has not been identified. She is a landscape architect and lives in the United States. Prince Bernhard's sixth daughter, Alexia Grinda (a.k.a. Alexia Lejeune or Alexia Grinda-Lejeune, born in Paris on 10 July 1967), is his child by the French socialite and fashion model Helene Grinda. Although rumours about these two children had already spread, it was made official after his death. In December 2008, Dutch historian Cees Fasseur claimed that former British Conservative Cabinet Minister Jonathan Aitken was the result of a wartime affair between Prince Bernhard and Aitken's mother, previously Penelope Maffey. CANNOTANSWER
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Bernhard was acceptable for the devoutly religious Wilhelmina.
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Prince Bernhard of Lippe-Biesterfeld (later Prince Bernhard of the Netherlands, ; 29 June 1911 – 1 December 2004) was a German-born nobleman who was the consort to Queen Juliana of the Netherlands; they were the parents of four children, including Beatrix, who was Queen of the Netherlands from 1980 to 2013.
He belonged to the princely House of Lippe and was a nephew of the Principality of Lippe's last sovereign Leopold IV. From birth he held the title Count of Biesterfeld; his uncle raised him to princely rank with the style of Serene Highness in 1916. He studied law and worked as an executive secretary at the Paris office of IG Farben. In 1937 he married Princess Juliana of the Netherlands and was immediately given the title Prince of the Netherlands with the style of Royal Highness. Upon his wife's accession to the throne in 1948, he became the prince consort of the Netherlands.
Although his private life was rather controversial, Prince Bernhard was still generally regarded as a popular figure by the majority of the Dutch for his performance as a combat pilot and his activities as a liaison officer and personal aide to Queen Wilhelmina during World War II, and for his work during post-war reconstruction. During World War II, he was part of the London-based Allied war planning councils. He saw active service as a Wing Commander (RAF), flying both fighter and bomber planes into combat. He was a Dutch general and Supreme Commander of the Dutch Armed forces, involved in negotiating the terms of surrender of the German Army in the Netherlands. For proven bravery, leadership and loyalty during his wartime efforts, he was appointed a Commander of the Military William Order, the Netherlands' oldest and highest honour. After the war he was made Honorary Air Marshal of the Royal Air Force by Queen Elizabeth II of the United Kingdom. In 1969, Bernhard was awarded the Grand Cross (Special Class) of the Order of Merit of the Federal Republic of Germany.
Bernhard helped found the World Wildlife Fund (later renamed World Wide Fund for Nature), becoming its first president in 1961. In 1970, along with Prince Philip, Duke of Edinburgh and other associates, he established the WWF's financial endowment "The 1001: A Nature Trust". In 1954, he was a co-founder of the international Bilderberg Group, which has met annually since then to discuss corporate globalisation and other issues concerning Europe and North America. He was forced to step down from both groups after being involved in the Lockheed Bribery Scandal in 1976.
Early life
Bernhard was born Bernhard Leopold Friedrich Eberhard Julius Kurt Karl Gottfried Peter, Count of Biesterfeld in Jena, Saxe-Weimar-Eisenach, German Empire on 29 June 1911, the elder son of Prince Bernhard of Lippe and his wife, Baroness Armgard von Sierstorpff-Cramm. He was a grandson of Ernest, Count of Lippe-Biesterfeld, who was regent of the Principality of Lippe until 1904. He was also a nephew of the principality's last sovereign, Leopold IV, Prince of Lippe.
Because his parents' marriage did not conform with the marriage laws of the House of Lippe, it was initially deemed morganatic, so Bernhard was granted only the title of Count of Biesterfeld at birth. He and his brother could succeed to the Lippian throne only if the entire reigning House became extinct. In 1916, his uncle Leopold IV as reigning Prince raised Bernhard and his mother to Prince and Princess of Lippe-Biesterfeld, thereby retroactively according his parents' marriage dynastic status. The suffix Biesterfeld was revived to mark the beginning of a new cadet line of the House of Lippe.
After World War I, Bernhard's family lost their German Principality and the revenue that had accompanied it. But the family was still reasonably well-off. Bernhard spent his early years at Reckenwalde castle (Wojnowo, Poland), the family's new estate in East Brandenburg, thirty kilometres east of the River Oder. He was taught privately and received his early education at home. When he was twelve, he was sent to board at the Gymnasium in Züllichau (Sulechów). Several years later he was sent to board at a Gymnasium in Berlin, from which he graduated in 1929.
Bernhard suffered from poor health as a boy. Doctors predicted that he would not live very long. This prediction might have inspired Bernhard's reckless driving and the risks that he took in the Second World War and thereafter. The prince wrecked several cars and planes in his lifetime.
Bernhard studied law at the University of Lausanne, Switzerland and in Berlin. In the latter city, he also acquired a taste for fast cars, horse riding, and big-game hunting safaris. He was nearly killed in a boating accident and an aeroplane crash. He suffered a broken neck and crushed ribs in a 160 km/h (100 mph) car crash in 1938.
While at university, Bernhard joined the Nazi Party. He also enrolled in the Sturmabteilung (SA), which he left in December 1934 when he graduated and went to work for IG Farben. The Prince later denied that he had belonged to SA, to the Reiter-SS (SS Cavalry Corps), and to the NSKK, but these are well-documented memberships. While he was not a fierce champion of democracy, the Prince was never known to hold any radical political views or express any racist sentiments, although he admitted that he briefly had sympathised with Adolf Hitler's regime.
The Prince eventually went to work for the German chemical giant IG Farben in the early 1930s, then the world's fourth-largest company. (It survives today as BASF, AGFA, and Bayer). He joined the statistics department of IG Farben's Berlin N.W. 7 department, the key Nazi overseas espionage center (known as VOWI) that evolved into the economic intelligence arm of the Wehrmacht. He lodged with Count Paul von Kotzebue (1884-1966), an exiled Russian nobleman of German descent, and his wife Allene Tew, who was born in the United States. After training, Bernhard became secretary in 1935 to the board of directors at the Paris office.
Marriage and children
Bernhard met then-Princess Juliana at the 1936 Winter Olympics at Garmisch-Partenkirchen. Juliana's mother, Queen Wilhelmina, had spent most of the 1930s looking for a suitable husband for Juliana. As a Protestant of royal rank (the Lippes were a sovereign house in the German Empire), Bernhard was deemed acceptable for the devoutly religious Wilhelmina. They were distantly related, 7th cousins in particular, both descending from Lebrecht, Prince of Anhalt-Zeitz-Hoym. Wilhelmina left nothing to chance, and had her lawyers draft a very detailed prenuptial agreement that specified exactly what Bernhard could and could not do. The couple's engagement was announced on 8 September 1936, and they were married at The Hague on 7 January 1937. Earlier, Bernhard had been granted Dutch citizenship and changed the spelling of his names from German to Dutch. Previously styled as Serene Highness, he became a Royal Highness by Dutch law. His appropriateness as consort of the future Queen would later become a matter of some public debate.
Prince Bernhard fathered six children, four of them with Queen Juliana. The eldest daughter is Beatrix, (born 1938), who later became Queen of the Netherlands. His other daughters with Juliana are Irene (born 1939), Margriet (born 1943) and Christina (1947–2019).
He had two "natural", or illegitimate, daughters. The first is Alicia von Bielefeld (born in San Francisco on 21 June 1952), whose mother has been identified as Alicia Webber, a 19 years old German national, illegitimate daughter of German aviator and test pilot Hanna Reitsch. Von Bielefeld has become a landscape architect and lives in the United States. His sixth daughter, Alexia Grinda (a.k.a. Alexia Lejeune or Alexia Grinda-Lejeune, born in Paris on 10 July 1967), is his child by Hélène Grinda, a French socialite and fashion model. Although rumours about these two children were already widespread, their status as his daughters was made official after his death. In December 2008, Dutch historian Cees Fasseur claimed that Jonathan Aitken, former British Conservative Cabinet Minister, was also a child of Prince Bernhard, the result of his wartime affair with Penelope Maffey.
Attitudes to Nazi Germany
Prince Bernhard was a member of the "Reiter-SS", a mounted unit of the SS and had joined the Nazi party before the war. He later also joined the National Socialist Motor Corps.
Various members of his family and friends were aligned with the Nazis prior to the Second World War, and a number of them attended the royal wedding. Protocol demanded that the prospective Prince-Consort be invited to an audience with his head of state, who at the time was Adolf Hitler. Hitler gave an account of the conversation he had with Bernhard in his Tischgespräche (Table Conversations). This book was a collection of monologues, remarks, and speeches Hitler gave during lunch or dinner to those he had invited.
The Prince's brother, Prince Aschwin of Lippe-Biesterfeld, was an officer in the German Army. Although the secret services on both sides were interested in this peculiar pair of brothers, no improper contacts or leaks of information were ever discovered. He cut off relations with those members of his family who were enthusiastic Nazis. As a sign of his "Dutchness", near the end of the war, he spoke only Dutch when negotiating the surrender of German forces in the Netherlands.
Second World War
At the outset of the Second World War, during the German invasion of the Netherlands, the Prince, carrying a machine gun, organised the palace guards into a combat group and shot at German warplanes. The Royal family fled the Netherlands and took refuge in England. Disagreeing with Queen Wilhelmina's decision to leave the Kingdom, the young Prince Consort, aged 28, is said at first to have refused to go and to have wanted to oppose the Nazi occupation from within the country. However, in the end, he agreed to join his wife and became head of the Royal Military Mission based in London. His wife Princess Juliana and their children continued on to Canada, where they remained until the end of the war.
In England, Prince Bernhard asked to work in British Intelligence. The War Admiralty, and later General Eisenhower's Allied Command offices, did not trust him enough to allow him access to sensitive intelligence information. On the recommendation of Bernhard's friend and admirer King George VI, however, who was also of German aristocratic descent through his mother Mary of Teck and his great-grandfather Prince Albert, and after Bernhard was personally screened by British intelligence officer Ian Fleming at the behest of Churchill, he was later given work to do in the Allied War Planning Councils.
"For Bernhard, the Prince of the Netherlands, the war was a frustrating business. Born a German, he had married Queen Wilhelmina's only child, Princess Juliana, and in due time made a conscious and meaningful transition of loyalties to his new homeland. Because of this, and in view of the doubts his background initially evoked among some Britons, he longed more than anyone for a chance to get at Holland's aggressors." Erik Hazelhoff Roelfzema aka "Soldier of Orange", decorated war hero.
On 25 June 1940, three days after France fell to the German war machine, Bernhard spoke on the Overseas Service of the BBC. He called Hitler a German tyrant and expressed his confidence that Britain would defeat the Third Reich.
In 1940, Flight Lieutenant Murray Payne gave the prince instruction in flying a Spitfire. The prince made 1,000 flight-hours in a Spitfire with the RAF's No. 322 (Dutch) Squadron RAF, wrecking two planes during landings. He remained an active pilot throughout his life and flew his last aeroplane 53 years later, with his grandson and heir to the throne, who inherited his passion for flying.
In 1941, Prince Bernhard was given the honorary rank of wing commander in the Royal Air Force. As "Wing Commander Gibbs (RAF)", Prince Bernhard flew over occupied Europe, attacking V-1 launch pads in a B-24 Liberator, bombing Pisa, and engaging submarines over the Atlantic in a B-25 Mitchell, and conducting reconnaissance over enemy-held territory in an L-5 Grasshopper. Prince Bernhard was awarded the Dutch Airman's Cross for his "ability and perseverance" (Dutch: "bekwaamheid en volharding"). In 1941 he also received a promotion to Honorary Air Commodore.
He also helped organise the Dutch resistance movement and acted as the personal secretary for Queen Wilhelmina.
Queen Wilhelmina erased the style "honorary" (the exact words were "à la suite") in the decree promoting Bernhard to General. In this unconstitutional manner, she gave this Royal Prince a status that was never intended by either Parliament or her Ministers. The Minister of Defence did not choose to correct the Monarch, and the Prince took an active and important role in the Dutch Armed forces.
By 1944, Prince Bernhard became Commander of the Dutch Armed Forces. After the liberation of the Netherlands, he returned with his family and became active in the negotiations for the German surrender. He was present during the Armistice negotiations and German surrender at Hotel de Wereld ("The World Hotel"), Wageningen in The Netherlands on 5 May 1945, where he avoided speaking German.
The Prince was a genuine war hero in the eyes of most of the Dutch; he kept cordial relations with the Communists who fought against the Nazis. In the post-war years, he earned respect for his work in helping to reinvigorate the economy of the Netherlands.
Postwar roles
After the War, the position of Inspector General was created for the Prince.
On the 4th of September 1948, his mother in law Queen Wilhelmina abdicated the throne and Juliana became Queen of the Netherlands and Bernhard became Prince Consort of the Netherlands. He was made a member of the boards of supervisors of Fokker Aircraft and KLM Royal Dutch Airlines, and within a few years he had been invited to serve as an adviser or non-executive director of numerous corporations and institutions. There have been claims that KLM helped Nazis to leave Germany for Argentina on KLM flights while Bernhard was on its board. After a 1952 trip with Queen Juliana to the United States, Prince Bernhard was heralded by the media as a business ambassador extraordinaire for the Netherlands.
With his global contacts having been approached by the secretive Polish diplomat, Józef Retinger, in May 1954 Bernhard was a key figure in organising a meeting at the Bilderberg Hotel in the Netherlands for the business elite and intellectuals of the Western World to discuss the economic problems in the face of what they characterised as the growing threat from Communism. This first meeting was successful, and it became an annual gathering known as the Bilderberg Group. The idea for the European Union, first proposed by Robert Schuman on 9 May 1950, was encouraged at Bilderberg.
Prince Bernhard was a very outspoken person who often flouted protocol by remarking upon subjects about which he felt deeply. Almost until his last day, he called for more recognition for the Polish veterans of the Second World War, who had figured greatly in the liberation of the Netherlands. But it was not until after his death that the Dutch Government publicly recognised the important role of the Polish Army in the liberation: on 31 May 2006, at the Binnenhof in The Hague, Queen Beatrix conferred the Military William Order, the highest Dutch military decoration, on the Polish 1st Independent Parachute Brigade. The award is now worn by the 6th Airborne Brigade which inherited the battle honours of the brigade.
Friendships and international connections
Prince Bernhard was seen as a jet-setting and charismatic ambassador for the Dutch during post-war reconstruction. Because of his connections, Prince Bernhard reportedly maintained friendships with several high-profile international figures. They included Nelson Mandela, David Rockefeller, Mohammad Reza Pahlavi, Ian Fleming, and Walter Bedell Smith.
Scandals and rumours
Hofmans Affair
In the mid-1950s, Queen Juliana and Prince Bernhard's marriage faced significant strain because of the ongoing influence of Greet Hofmans, a faith healer and layer-on of hands. For nine years she acted as a confidante and adviser to Queen Juliana, often residing at Palace Soestdijk. Originally, Hofmans was introduced to Queen Juliana at the initiative of Prince Bernhard in 1948 to treat an eye illness of their youngest daughter, Princess Christina (then still called Marijke). This illness arose because Juliana was infected with rubella during pregnancy. Hofmans developed a great influence on the Queen, encouraging pacifist ideas. In the period of the Cold War, this caused a crisis in the Royal Household.
While the Dutch press did not report widely on the issue, outside the Netherlands, a great deal was written about the Hofmans affair. On 13 June 1956, an article was published in the German magazine Der Spiegel, titled "Zwischen Königin und Rasputin" – "between the Queen and her Rasputin". It portrayed Hofmans in a less-than-flattering way. Later, Bernhard admitted that he had personally provided the information for the article. Observers said that, in doing so, he hoped to have Hofmans removed from the court. In the face of escalating tensions, the Prime Minister, Willem Drees appointed a committee of "three wise men" (elder statesmen) to advise the royal couple. Hofmans was banished as were various allies and supporters who had grown to prominence within the Royal Household.
In 2008 the report of the "three wise men" was made public. Historian Cees Fasseur drew from it for his book, Juliana & Bernhard (2008); in addition, the Queen had granted him access to the private royal archive. He noted that Bernhard was reprimanded in 1956 for having leaked confidential information to the international press. Fasseur said that Bernhard resorted to bringing in the international press only after repeated, desperate and often dramatic pleading with his wife to distance herself from the Hofmans group. Fasseur wrote:
"Bernard was obviously a free spirited chap, who independently went about his business. But he was still very much a family man. I got the feeling he was the only one that was seeing things were getting completely out of hand and tried to salvage the situation as much as he could."
Lockheed scandal
Scandal rocked the Royal family in 1976 when the press reported that Prince Bernhard had accepted a US$1.1 million bribe from U.S. aircraft manufacturer Lockheed Corporation to influence the Dutch government's purchase of fighter aircraft. At the time he had served on more than 300 corporate boards and committees worldwide and had been praised in the Netherlands for his efforts to promote the economic well-being of the country. Prime Minister of the Netherlands Joop den Uyl ordered an inquiry into the Lockheed affair. Prince Bernhard refused to answer reporters' questions, stating: "I am above such things".
The Dutch and international press headlined the stories for months. They also brought up records of Prince Bernhard's Reiter SS membership and details of his numerous extramarital affairs. They noted he had purchased a luxurious Paris apartment for his mistress Hélène Grinda (granddaughter of Édouard Grinda), with whom he had a daughter, Alexia, who was illegitimate. Bernhard had an older illegitimate daughter, Alicia, born in the United States (with a German pilot whom he met in Mexico in 1951).
On 26 August 1976, a full report of Prince Bernhard's activities was released to a shocked Dutch public. The Prince's own letter of 1974, to Lockheed Corporation, was publicised; he had demanded "commissions" be paid to him on Dutch government aircraft purchases. This was very damaging evidence of improper conduct by the man who was Inspector-General of the Dutch Armed Forces. Out of respect for Queen Juliana, the government did not press charges against Bernhard.
Prince Bernhard resigned as Inspector-General of the Dutch Armed Forces. He was no longer officially allowed to wear a uniform in public. But a few years later, he was in full military dress when he attended the 1979 funeral of Lord Mountbatten in London.
Prime Minister Joop den Uyl made a statement in Parliament and told the delegates that the Prince would also resign from his various high-profile positions in businesses, charities, and other institutions. The Dutch States-General voted against criminal prosecution. Prince Bernhard turned over the Presidency of the international World Wildlife Fund to Prince Philip, Duke of Edinburgh.
In an interview published after his death, on 14 December 2004, Prince Bernhard admitted that he had accepted more than one million dollars (US) in bribes from Lockheed. He acknowledged it was a mistake and claimed that all of the money went to the WWF. He said: "I have accepted that the word Lockheed will be carved on my tombstone." He also confirmed having fathered two illegitimate daughters.
In February 2008, Joop den Uyl's biography claimed that the official report investigating the Lockheed bribe scandal also presented proof that the Prince had accepted money from yet another aerospace firm: Northrop. The former Prime Minister claimed he had not made the information public to protect the Dutch monarchy.
Project Lock
In 1988, Prince Bernhard and Princess Juliana sold two paintings from their personal collection to raise money for the World Wildlife Fund. The paintings sold for GBP700,000, which was deposited in a Swiss WWF bank account. In 1989, however, Charles de Haes, Director-General of the WWF, transferred GBP500,000 back to Bernhard, for what De Haes called a private project. In 1991, newspapers reported what this private project was: Prince Bernhard had hired KAS International, owned by Special Air Service founder Sir David Stirling, to use mercenaries – mostly British – to fight poachers in nature reserves. The paramilitary group infiltrated organisations profiting from illegal trade in ivory in order to arrest them.
This Project Lock seemed to have backfired enormously, however. The hired mercenaries had not only infiltrated the illegal trade, they were also participating in it.
In 1995, Nelson Mandela called upon the Kumleben Commission to investigate, among other things, the role of the WWF in apartheid-South Africa. In the report that followed, it was suggested that mercenaries from Project Lock had planned assassinations of ANC members and that mercenaries had been running training camps in the wildlife reserves, training fighters from the anti-communist groups UNITA and Renamo. Prince Bernhard was never accused of any crime in this context but the Project Lock scandal negatively impacted the Prince's reputation.
Additional controversies and rumours
Prince Bernhard garnered media attention when, on 30 October 2002, he paid the fines of two Albert Heijn supermarket staff members, who were convicted of assaulting a shoplifter after they detained him.
The 2009 publication HRH: High Stakes at the Court of His Royal Highness by historian Harry Veenendaal and journalist Jort Kelder alleges that the Prince in 1950 attempted to oust the young government of the newly founded Republic of Indonesia and place himself to lead the Islands as Viceroy similar to Lord Mountbatten's role in British India. This was particularly contentious as in 1949 the Netherlands had already officially recognised its former colony as an independent nation.
A 2016 biography by Jolande Withuis about his wife queen Juliana, titled Juliana, posited further rumours including that he had once sexually assaulted a minor, that he had refused to divorce the queen twice, and that later on during their final years in life he prohibited Juliana from seeing him.
Death
In 1994 the Prince had a colon tumor removed and suffered severe complications due to respiratory distress. In December, his daughter Queen Beatrix rushed to the hospital straight after landing from a trip to Africa. By Christmas the prospect of death had faded and spring the next year he recovered enough to go home. His health problems continued in 1998 when he had a prostate swelling and in 1999 when he suffered difficulties breathing and talking. He did, however, attend the wedding of his grandson, straight after having prostate surgery. In 2000, his life was endangered again when he suffered neurological complications and continued breathing problems. Two days after intensive medical (and media) attention the Royal Press Office issued a statement the Prince was reading newspapers again.
Over the following years Bernhard continued to appear at the military parades on the national liberation day celebrating the defeat of Nazi Germany. Only when his wife Juliana died in March 2004 did the Prince become exceedingly fragile. Up to the last moment it remained uncertain if he could attend the royal funeral, which he eventually managed to attend. He said his final farewells to his war comrades on Liberation Day in May and in November that same year he was diagnosed with untreatable cancer.
Prince Bernhard died of lung cancer at the age of 93 at University Medical Center Utrecht in Utrecht on 1 December 2004, two years after the death of his son-in-law Prince Claus; his death suffered from malignant lung and intestinal tumors. On 11 December 2004, he was interred with a state funeral at the Nieuwe Kerk, Delft. Bernhard's funeral was different from those of Prince Claus and Queen Juliana in that Bernhard's coffin was transported on the undercarriage of a cannon instead of in the traditional carriage used when the coffins of Prince Claus and Queen Juliana were transported to Delft. Together with the playing of many military marches and the forming of guards of honour by Second World War veterans this gave the funeral procession a military character as the late Prince, a Second World War veteran, had wished. As a final tribute to his former military role in the Royal Netherlands Air Force, three modern F-16 jet fighters and a World War II Spitfire plane performed a low flypast during the funeral in a classic missing man formation.
In popular culture
In the years after Bernhard died his life story has been the inspiration for literature, theatre, television and comic books. In 2010 fact and fiction of the life of Bernhard was portrayed in a Dutch television series. In a biographical dissertation by Dutch journalist and historian Annejet van der Zijl published in March 2010, Bernhard was called "a failure" in the history of the Dutch Royal Family and a "creature of his own myths".
Titles, styles and honours
Titles
29 June 1911 – 1916: Count Bernhard of Biesterfeld
1916 – 7 January 1937: His Serene Highness Prince Bernhard of Lippe-Biesterfeld
7 January 1937 – 6 September 1948: His Royal Highness Prince Bernhard of the Netherlands, Prince of Lippe-Biesterfeld
6 September 1948 – 30 April 1980: His Royal Highness The Prince of the Netherlands
30 April 1980 – 1 December 2004: His Royal Highness Prince Bernhard of the Netherlands, Prince of Lippe-Biesterfeld
Honours
National honours
Knight Commander of the Military William Order
Knight Grand Cross of the Order of the Netherlands Lion
Knight Grand Cross of the Order of Orange-Nassau
Grand Master Knight Commander of the Order of the Golden Ark, 1st Class
Knight Commander of the Order of St. John in the Netherlands
Recipient of the Airman's Cross
Recipient of the Queen Juliana Inauguration Medal
Foreign honours
: Grand Cross of the Order of the Liberator General San Martín
: Grand Star Decoration for Services to the Republic of Austria, Gold
: Knight Grand Cross of the Order of Leopold I
: Recipient of the War Cross Medal 1939–1945
: Grand Cross of the Order of the Southern Cross
: Grand Cross of the Order of Valour
: Grand Cross of the Order of the White Lion
: Recipient of the Czechoslovak War Cross 1939–1945
: Grand Cross of the Order of Merit
: Grand Cross of the Order of Boyaca, Special Class
: Knight of the Order of the Elephant
: Grand Cross of the Order of Merit of Duarte, Sánchez and Mella, Silver
: Grand Cross of the Order of Abdon Calderón
Ethiopian Imperial Family: Knight Grand Cordon with Collar of the Order of the Queen of Sheba
: Grand Cross of the Order of the White Rose of Finland
: Grand Cross of the Order of the Legion of Honour
: Commander of the Order of Academic Palms
: Recipient of the Aeronautical Medal
: Grand Cross of the Order of Merit of the Federal Republic of Germany, Special Issue
Greece
Greek Royal Family: Knight Grand Cross of the Order of George I
: Recipient of the 1940 War Cross Medal
: Grand Cross of the Order of Santa Rosa and of Civilisation
: Adipurna Grand Cross of the Order of the star of Mahaputera
Iranian Imperial Family: Knight Grand Cordon of the Order of the Lion and the Sun
Iranian Imperial Family: Recipient of the Commemorative Medal of the 2,500 year Celebration of the Persian Empire
: Grand Cross of the Order of Merit of the Italian Republic
: Grand Cross of the National Order of the Ivory Coast
: Knight Grand Cordon of the Order of the Rising Sun
: Grand Cross of the Order of the Pioneers of Liberia
: Knight Grand Cross of the Order of the Gold Lion of the House of Nassau
: Recipient of the War Cross Medal 1939–1945
: Grand Cross of the Order of the Aztec Eagle, Special Class
Nepal: Member Grand Cross of the Order of Ojaswi Rajanya
: Grand Cross of the Order of Rubén Darío, Special Class
: Knight Grand Cross of the Order of Saint Olav
: Grand Cross of the Order of Manuel Amador Guerrero
: Grand Cross of the Order of Merit, Special Class
: Grand Cross of the Order of the Sun of Peru
: Grand Cross of the Order of Military Virtue
: Grand Cross of the National Order of Merit
: Bailiff Knight Grand Cross of Honour and Devotion of the Sovereign Military Order of Malta
: Knight Grand Cross of the Order of Charles III
: Grand Cross of the Honorary Order of the Yellow Star
: Knight Grand Cross of the Royal Order of the Seraphim
: Knight Grand Cordon with Chain of the Order of the Royal House of Chakri
: Grand Cross of the Order of Independence
: Honorary Knight Grand Cross of the Order of the Bath
: Honorary Knight Grand Cross of the Royal Victorian Order
: Recipient of the France and Germany Star
: Recipient of the Defence Medal
: Recipient of the King George VI Coronation Medal
: Recipient of the Queen Elizabeth II Coronation Medal
: Officer of the Legion of Merit
: Grand Cross of the Order of the Liberator
: Grand Cross of the Order of Karađorđe's Star
Military ranks
Military ranks of the Armed forces of the Netherlands
Honorary military ranks of foreign armed forces
Ancestry
References
External links
1911 births
2004 deaths
20th-century Calvinist and Reformed Christians
Aide-de-camp to the Monarch of the Netherlands
Burials in the Royal Crypt at Nieuwe Kerk, Delft
Chairmen of the Steering Committee of the Bilderberg Group
Commanders-in-chief of the Armed Forces of the Netherlands
Converts to Calvinism from Lutheranism
Counts of Lippe
Counts of Lippe-Biesterfeld
Deaths from cancer in the Netherlands
Deaths from lung cancer
Deaths from stomach cancer
Dutch animal rights activists
Dutch conservationists
Dutch lobbyists
Dutch members of the Dutch Reformed Church
Dutch nonprofit directors
Dutch nonprofit executives
Dutch people of German descent
Dutch royal consorts
Engelandvaarders
German Calvinist and Reformed Christians
German Lutherans
German royalty
Grand Cordons of the Honorary Order of the Yellow Star
Grand Cordons of the Order of the Rising Sun
Grand Croix of the Légion d'honneur
Grand Crosses Special Class of the Order of Merit of the Federal Republic of Germany
Grand Crosses of the Order of George I
Grand Crosses of the Order of the Sun of Peru
Grand Crosses of the Order of the White Lion
Honorary air commodores
Honorary Knights Grand Cross of the Order of the Bath
Honorary Knights Grand Cross of the Royal Victorian Order
House of Lippe
House of Orange-Nassau
Humboldt University of Berlin alumni
Inspectors general
Knights Commander of the Military Order of William
Knights Grand Cross of the Order of Merit of the Italian Republic
Knights Grand Cross of the Order of Orange-Nassau
Knights of the Order of Saint John in the Netherlands
Knights of the Order of the Netherlands Lion
Lockheed bribery scandals
Members of the Council of State (Netherlands)
Members of the Steering Committee of the Bilderberg Group
National Socialist Motor Corps members
Military personnel from Jena
People from Saxe-Weimar-Eisenach
Political controversies in the Netherlands
Princes of Lippe
Princes of Lippe-Biesterfeld
Protestant Church Christians from the Netherlands
Recipients of the Airman's Cross
Recipients of the Czechoslovak War Cross
Recipients of the Order of Orange-Nassau
Royal Air Force air marshals
Royal Air Force personnel of World War II
Royal Australian Air Force officers
Royal Netherlands Air Force generals
Royal Netherlands Air Force personnel of World War II
Royal Netherlands Air Force pilots
Royal Netherlands Army generals
Royal Netherlands Army personnel of World War II
Royal Netherlands East Indies Army generals
Royal Netherlands East Indies Army officers
Royal Netherlands East Indies Army personnel of World War II
Royal Netherlands Navy admirals
Royal Netherlands Navy personnel of World War II
University of Lausanne alumni
World Wide Fund for Nature
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"Greet Hofmans (23 June 1894 – 16 November 1968) was a Dutch faith healer and \"hand layer\". For nine years she was a friend and advisor of Queen Juliana, often residing at Palace Soestdijk. She became the former Dutch queen's confidante in the 1950s, but was removed from the royal court after an affair that in the Netherlands is often referred to by her name, the Greet Hofmans affair.\n\nCourt crisis 1948–1956 \n\nHofmans was introduced at the Dutch Royal Court on the initiative of Prince Bernhard in 1948 to treat the eye sickness of Princess Maria Christina. This illness arose after Juliana was infected with rubella during the pregnancy. Hofmans developed a great influence on the queen, encouraging pacifist ideas. In the period of the Cold War this caused a crisis in the royal household. Reputedly it reached the point where it threatened the marriage of Juliana and Bernhard. This crisis, which lasted to 1956, split the Dutch court into two camps. On the one side were Juliana and other admirers of Hofmans. On the other side were her husband Prince Bernhard, his supporters and the children of him and Juliana, including the later Dutch queen, Beatrix.\n\nOutside the Netherlands, a great deal was written and speculated about the Hofmans affair. On 13 June 1956 an article appeared in the German magazine Der Spiegel subtitled \"Zwischen Königin und Rasputin\", literally meaning \"Between queen and Rasputin\". Reportedly it was Bernhard who provided the information for the article, by which means he hoped to have Hofmans removed from the court.\n\nBeel Commission, 1956 \n\nThe cabinet of Willem Drees banned the import of the edition of the German magazine and on 28 June 1956 appointed a commission of enquiry of former ministers (Louis Beel and Gerbrandy) and former governor-general of the Dutch East Indies A. W. L. Tjarda van Starkenborgh Stachouwer: the Beel Commission. The outcome was the termination of Hofmans' contacts with the court and the reorganisation of the royal household.\n\nThrough the secrecy imposed on the official side and the self-censorship of the Dutch press, the Hofmans affair took on a life of its own. Some have speculated that the affair was simply a mask for a looming divorce of the royal couple.\n\nHofmans retained until her death followers of the higher circles, who saw in her the personification of the ideal life: sober, peaceful, free of self-interest, and directed at one's fellow man. Others viewed her, however, as a charlatan, an intrigant, and a dangerous \"witch\", or at best a naive figure. She kept treating patients till she died from cancer in 1968. She was buried at Zorgvlied cemetery.\n\nOn 7 February 2004 Bernhard wrote in an open letter to the Volkskrant newspaper:\n\"with respect to the so-named Hofmans affair, I recall that the Beel Commission in 1956 conducted an exhaustive investigation. The report of this commission is for formal reasons still not public, therefore I express here my confidence that the eventual publication will place all those involved in this complex affair in the correct light\".\n\nFasseur study 2008 \n\nIn November 2008, the Dutch historian Cees Fasseur revealed in his book Juliana & Bernhard. Story of a marriage, 1936–1956 that Hofmans left the Dutch royal court in 1956 after receiving a letter warning that both she and Queen Juliana’s private secretary Walraven van Heeckeren would be \"assassinated if she did not leave “voluntarily\". The existence of the anonymous letter, signed by \"the Action Committee\", was kept secret until that publication. However, it was known that two members of former Dutch resistance groups had sent a letter to Queen Juliana’s mother, Wilhelmina, suggesting a violent solution for the crisis within the monarchy caused by the Hofmans’ closeness to Queen Juliana.\n\nAuthor Fasseur said he did not know if Bernhard, who had close ties with the former resistance, knew about the liquidation threat – or if he perhaps gave the order to send such a threat himself. Fasseur was the first who was granted permission by the then Queen Beatrix to read files related to the affair, that had been kept in the royal archives along with the 1956 secret report of the Beel Commission. The long-secret report of the commission appeared as an appendix to Fasseur’s book in 2008.\n\nThe Vereniging tegen de Kwakzalverij (Dutch association against charlatans, or quackery) has ranked Hofmans in the 14th place of the top twenty charlatans of the 20th century in the Netherlands.\n\nLiterature \n Cees Fasseur Juliana & Bernhard – het verhaal van een huwelijk: de jaren 1936–1956, renewed ed. (2009)\n Cees Fasseur Juliana & Bernhard – het verhaal van een huwelijk: de jaren 1936–1956 (2008)\n Lambert J.Giebels De Greet Hofmans-affaire – hoe de Nederlandse monarchie bijna ten onder ging (2007)\n Hans Daalder Drees en Soestdijk – over de zaak-Hofmans en andere crises 1948–1958 (2006)\n J.G.Kikkert Crisis op Soestdijk – Nederland als bananenmonarchie, renewed ed. (2005)\n J.G.Kikkert Crisis op Soestdijk – Nederland als bananenmonarchie (1996) \t\n A.Bredenhoff Greet Hofmans – occult licht op een koninklijke affaire (1996)\n\nReferences \n\n\t\n\n1894 births\n1968 deaths\nFaith healers\nPeople from Amsterdam\nPolitical scandals in the Netherlands\nPolitical controversies in the Netherlands\nDeaths from cancer in the Netherlands",
"Juliana (; Juliana Louise Emma Marie Wilhelmina; 30 April 1909 – 20 March 2004) was Queen of the Netherlands from 1948 until her abdication in 1980.\n\nJuliana was the only child of Queen Wilhelmina and Prince Henry of Mecklenburg-Schwerin. She received a private education and studied international law at the University of Leiden. In 1937, she married Prince Bernhard of Lippe-Biesterfeld with whom she had four daughters: Beatrix, Irene, Margriet, and Christina. During the German invasion of the Netherlands in the Second World War, the royal family was evacuated to the United Kingdom. Juliana then relocated to Canada with her children, while Wilhelmina and Bernhard remained in Britain. The royal family returned to the Netherlands after its liberation in 1945.\n\nDue to Wilhelmina's failing health, Juliana took over royal duties briefly in 1947 and 1948. In September 1948 Wilhelmina abdicated and Juliana ascended to the Dutch throne. Her reign saw the decolonization and independence of the Dutch East Indies (now Indonesia) and Suriname. Despite a series of controversies involving the royal family, Juliana remained a popular figure among the Dutch.\n\nIn April 1980, Juliana abdicated in favour of her eldest daughter Beatrix. Upon her death in 2004 at the age of , she was the longest-lived former reigning monarch in the world.\n\nEarly life and education\n\nJuliana was born on 30 April 1909 at Noordeinde Palace in The Hague, the only daughter of the reigning Dutch monarch, Queen Wilhelmina. Her father was Duke Henry of Mecklenburg-Schwerin. She was the first Dutch royal baby since Wilhelmina herself was born in 1880. Wilhelmina had suffered two miscarriages and one stillbirth, raising the prospect of a succession crisis.\n\nThe Queen's nearest relative was Prince Heinrich XXXII Reuss of Köstritz, whose close ties to Germany made him unpopular in the Netherlands. Juliana's birth thus assured the royal family's survival. Her mother suffered two further miscarriages after her birth, leaving Juliana as the royal couple's only child. According to several sources Juliana was happy to be an only child because that meant she did not have to fight for attention.\n\nJuliana spent her childhood at Het Loo Palace in Apeldoorn, and at Noordeinde Palace and Huis ten Bosch Palace in The Hague. A small school class was formed at Noordeinde Palace on the advice of the educator Jan Ligthart so that, from the age of six, the Princess could receive her primary education with children of her own age. These children were Baroness Elise Bentinck, Baroness Elisabeth van Hardenbroek and Jonkvrouwe Miek (Mary) de Jonge.\n\nAs the Dutch constitution specified that Princess Juliana should be ready to succeed to the throne by the age of eighteen, her education proceeded at a faster pace than that of most children. After five years of primary education, the Princess received her secondary education (to pre-university level) from private tutors.\n\nOn 30 April 1927, Princess Juliana celebrated her eighteenth birthday. Under the constitution, she had officially come of age and was entitled to assume the royal prerogative, if necessary. Two days later her mother installed her in the \"Raad van State\" (\"Council of State\").\n\nIn the same year, the Princess enrolled as a student at the University of Leiden. In her first years at university, she attended lectures in sociology, jurisprudence, economics, history of religion, parliamentary history, and constitutional law. In the course of her studies she also attended lectures on the cultures of Suriname and the Netherlands Antilles, international affairs, international law, history, and European law. She graduated from the university in 1930 with a bachelor's degree in international law. She was taught Greek literature by Sophia Antoniadis, the university's first female professor.\n\nMarriage\n\nIn the 1930s, Queen Wilhelmina began a search for a suitable husband for her daughter. At the time, the House of Orange-Nassau was one of the most strictly religious royal families in the world, and it was very difficult to find a Protestant prince who suited their standards. Princes from the United Kingdom and Sweden were \"vetted\" but either declined or were rejected by the princess.\n\nAt the 1936 Winter Olympics in Bavaria, she met Prince Bernhard of Lippe-Biesterfeld, a young German Prince who was her 7th cousin, as both descended from Lebrecht, Prince of Anhalt-Zeitz-Hoym. His rank and religion were suitable; so Princess Juliana's royal engagement was arranged by her mother. Princess Juliana fell deeply in love with her fiancé, a love that was to last a lifetime and that withstood separation during the war and Bernhard's extramarital affairs and illegitimate children. The astute Queen Wilhelmina, by then the richest woman in the world, left nothing to chance. Wilhelmina had her lawyers draw up a prenuptial agreement that specified exactly what the German-born prince could and could not do, and what money he would receive from the royal estate. The couple's engagement was announced on 8 September 1936.\n\nThe wedding announcement divided a country that mistrusted Germany under Adolf Hitler. Prior to the wedding, on 24 November 1936, Prince Bernhard was granted Dutch citizenship and changed the spelling of his names from German to Dutch. They married in The Hague on 7 January 1937, the date on which Princess Juliana's grandparents, King William III and Queen Emma, had married fifty-eight years earlier. The civil ceremony was held in the Town Hall of The Hague and the marriage was blessed in the Great Church (St. Jacobskerk), also located in The Hague. Juliana's chosen bridesmaids were either her relatives or family friends. These included Duchess Woizlawa Feodora of Mecklenburg-Schwerin (her first cousin), Duchess Thyra of Mecklenburg-Schwerin (her second cousin), Grand Duchess Kira Kirillovna of Russia (her first cousin once removed), Princess Sophie of Saxe-Weimar-Eisenach (her second cousin), and two of Bernhard's first cousins, Princess Sieglinde of Lippe and Princess Elisabeth of Lippe.\n\nA wedding gift was the royal yacht, Piet Hein. The young couple moved into Soestdijk Palace in Baarn.\n\nThe first of their four daughters, Princess Beatrix, was born on 31 January 1938, followed by Princess Irene on 5 August 1939.\n\nCanadian exile\n\nOn 12 May 1940, during the invasion of the Netherlands by Germany in the Second World War, Prince Bernhard and Princess Juliana were evacuated to the United Kingdom to be followed the following day by Queen Wilhelmina and the Dutch Government, who set up a government in exile. The princess remained there for a month before taking the children to Ottawa, the capital of Canada, where she resided at Stornoway in the suburb of Rockcliffe Park. Her mother and husband remained in Britain with the Dutch government-in-exile.\n\nWhen her third child, Princess Margriet, was born on 19 January 1943, Governor General Lord Athlone granted royal assent to a special law declaring Princess Juliana's rooms at the Ottawa Civic Hospital to be extraterritorial in order that the infant would have exclusively Dutch, not dual nationality. Had these arrangements not been made, Princess Margriet would not be in the line of succession. The Canadian government flew the Dutch tricolour flag on parliament's Peace Tower while its carillon rang out with Dutch music at the news of Princess Margriet's birth. Prince Bernhard, who had remained in London with Queen Wilhelmina and members of the exiled Dutch government, was able to visit his family in Canada and be there for Margriet's birth. Princess Juliana's genuine warmth and the gestures of her Canadian hosts created a lasting bond, which was reinforced when Canadian soldiers fought and died by the thousands in 1944 and 1945 to liberate the Netherlands from the Nazis. She returned with Queen Wilhelmina by a military transport plane to the liberated part of the Netherlands on 2 May 1945, rushing to Breda to set up a temporary Dutch government. Once home, she expressed her gratitude to Canada by sending the city of Ottawa 100,000 tulip bulbs. Juliana erected a wooden lectern and brass plaque which is dedicated in thanks to the St. Andrew's Presbyterian Church (Ottawa) for their hospitality during her residence in Ottawa.\n\nOn 24 June 1945, she sailed on the RMS Queen Elizabeth from Gourock, Scotland, to the United States, listing her last permanent residence as London, England. The following year (1946), Juliana donated another 20,500 bulbs, with the request that a portion of these be planted at the grounds of the Ottawa Civic Hospital where she had given birth to Margriet. At the same time, she promised Ottawa an annual gift of tulips during her lifetime to show her lasting appreciation for Canada's war-time hospitality. Each year Ottawa hosts the Canadian Tulip Festival in celebration of this gift.\n\nOn 2 May 1945, Princess Juliana was returned with her mother to Dutch soil. Initially they lived in temporary quarters at Anneville just south of Breda. Juliana took part in the post-war relief operation for the people in the northern part of the country who had suffered through starvation during the Hunger Winter of 1944–1945, which had taken the lives of many of her countrymen. She was very active as the president of the Dutch Red Cross and worked closely with the National Reconstruction organization. Her down-to-earth manner endeared her to her people so much that a majority of the Dutch people would soon want Queen Wilhelmina to abdicate in favour of her daughter. In the spring of 1946 Princess Juliana and Prince Bernhard visited the countries that had helped the Netherlands during the occupation.\n\nDuring her pregnancy with her last child, Marijke Christina, Princess Juliana contracted rubella. The girl was born in 1947 with cataracts in both eyes and was soon diagnosed as almost totally blind in one eye and severely limited in the other. Despite her blindness, Christina, as she was called, was a happy and gifted child with a talent for languages and an ear for music. Over time, and with advances in medical technology, her eyesight did improve such that with thick glasses, she could attend school and even ride a bicycle. However, before that happened, her mother, the Princess, clinging to any thread that offered some hope for a cure, came under the strong influence of Greet Hofmans, a faith healer with heterodox beliefs, who was considered by \"her many detractors\" to be a sham.\n\nReign\n\nRegency and early reign\n\nWilhelmina's increasingly precarious health made it increasingly difficult for her to perform her duties. Juliana was forced to take over as regent from 14 October to 1 December 1947. Wilhelmina seriously considered abdicating in favour of Juliana at the end of 1947, but Juliana urged her mother to stay on the throne so she could celebrate her diamond jubilee in 1950. However, Wilhelmina was forced by further health problems to relinquish her royal duties to Juliana once again on 4 May 1948.\n\nThe independence of Indonesia, which saw more than 150,000 Dutch troops stationed there as decolonization force, was regarded as an economic disaster for the Netherlands. With the certain loss of the prized colony, the queen announced her intention to abdicate, doing so on 4 September 1948. Two days later, with the eyes of the world upon her, Juliana was sworn in and inaugurated as monarch during a joint session of the States General at a ceremony held in the Nieuwe Kerk in Amsterdam, becoming the 12th member of the House of Orange to rule the Netherlands.\n\nOn 27 December 1949 at Dam Palace in Amsterdam, Queen Juliana signed the papers that recognised Indonesian sovereignty over the former Dutch colony. She became Hoofd der Unie (Head of the Union) of the Netherlands-Indonesian Union (1949-1956). On 15 December 1954, the Queen announced that the nation's Caribbean possessions of the Netherlands Antilles and Suriname were to be reconstituted as constituent countries of the Kingdom of the Netherlands, making them equal partners with the mainland.\n\nThe near-blindness of her daughter Christina and the increasing influence of Hofmans, who had moved into a royal palace, severely affected the queen's marital relationship. Over the next few years, the controversy surrounding the faith healer, at first kept out of the Dutch media, erupted into a national debate over the competency of the queen. However, the debate subsided in part due to Juliana's efforts to connect with her people. She often appeared in public dressed like any ordinary Dutch woman, and preferred to be addressed as \"Mevrouw\" (Dutch for \"Mrs.\") rather than her formal title of \"majesty\". She also began riding a bicycle for exercise and fresh air.\n\nAlthough the bicycle and the down-to-earth manners suggest a simple life style, the Dutch royal court of the 1950s and 1960s was still an opulent affair with chamberlains in magnificent uniforms, gilded state coaches, visits to towns in open carriages and lavish entertaining in the huge palaces. At the same time the queen began visiting the citizens of the nearby towns and, unannounced, would drop in on social institutions and schools. On the international stage, Queen Juliana was interested in the problems of developing countries, the refugee problem, and particularly child welfare in developing countries.\n\nCrises and recovery \nOn the night of 31 January 1953, the Netherlands was hit by the most destructive storm in more than five hundred years. Thirty breaches of dunes and dikes occurred and many towns were swept away by twelve-foot storm surges. More than 1800 people drowned and tens of thousands were trapped by the floodwaters. Dressed in boots and an old coat, Queen Juliana waded through water and slopped through deep mud all over the devastated areas to bring desperate people food and clothing. Showing compassion and concern, reassuring the people, her tireless efforts would permanently endear her to the citizens of the Netherlands.\n\nIn 1956, the influence of Hofmans on Juliana's political views almost brought down the monarchy in a constitutional crisis; this caused the court and the royal family to split into a \"Bernhard faction\", set on removing a queen considered a religious fanatic and a threat to NATO, and the queen's pious and pacifist courtiers. Prime Minister Willem Drees resolved the crisis. However, Juliana lost out to her powerful husband and his friends. Hofmans was banished from the court and Juliana's supporters were sacked or pensioned. Prince Bernhard planned to divorce his wife but decided against it when he, as he told an American journalist, \"found out that the woman still loved him\" .\n\nQueen Juliana faced another crisis among her Protestant citizens in 1963, when her second daughter Irene secretly converted to Roman Catholicism and, without government approval, on 29 April 1964 married Prince Carlos Hugo of Bourbon, Duke of Parma, a claimant to the Spanish throne and also a leader in Spain's Carlist party. Given the history of the Dutch struggle for independence from Roman Catholic Spain, and with fascist German oppression still fresh in the minds of the Dutch people, the events leading to the marriage were played out in all the newspapers and a storm of hostility erupted against the monarchy for allowing it to happen—a matter so serious that the queen's abdication became a real possibility. She survived, however, thanks to the underlying devotion she had earned over the years.\n\nAnother crisis developed as a result of the announcement in July 1965 of the engagement of Princess Beatrix, heir to the throne, to German diplomat Claus von Amsberg. The future husband of the future queen had been a member of the Nazi Wehrmacht and the Hitler Youth movement. Many angry Dutch citizens demonstrated in the streets, and held rallies and marches against the \"traitorous\" affair. While this time there were no calls for the queen's abdication—because the true object of the people's wrath, Princess Beatrix, would then be queen—they did start to question the value of having a monarchy at all. After attempting to have the marriage cancelled, Queen Juliana acquiesced and the marriage took place under a continued storm of protest; an almost certain attitude pervaded the country that Princess Beatrix might be the last member of the House of Orange to ever reign in the Netherlands. Despite all these difficulties, Queen Juliana's personal popularity suffered only temporarily.\n\nThe queen was noted for her courtesy and kindness. In May 1959, for example, Polish-American ufologist George Adamski received a letter from the head of the Dutch Unidentified Flying Objects Society, Rey d'Aquilla, informing him that she had been contacted by Queen Juliana's palace and \"that the Queen would like to receive you\". Adamski informed a London newspaper about the invitation, which prompted the court and cabinet to request that the queen cancel her meeting with Adamski, but the queen went ahead with the meeting, saying that \"A hostess cannot slam the door in the face of her guests.\" After the meeting, Dutch Aeronautical Association president Cornelis Kolff said: \"The Queen showed an extraordinary interest in the whole subject.\" The Dutch press put it more straightforwardly. According to Time magazine, newspaper de Volkskrant said: \"The Dutch press could hardly be accused of concealing the facts last week. Once again, Queen Juliana's weakness for the preternatural had landed her back in the headlines: she had invited to the palace a crackpot from California who numbered among his friends men from Mars, Venus and other solar-system suburbs.\"\n\nAn event in April 1967, helped by an improving Dutch economy, brought an overnight revitalization of the royal family: the first male heir to the Dutch throne in 116 years, Willem-Alexander, was born to Princess Beatrix. This time, the demonstrations in the street were of love and enthusiasm.\n\nLater reign \nIn the spring of 1975, a group of South Moluccans were caught conspiring to steal a heavy truck and ram the gates of Soestdijk Palace to kidnap the queen. Ten members of the group in a vehicle full of firearms were arrested. The group's alleged aim was to force the Dutch government to recognize the Republik Maluku Selatan (RMS) as an independent state and try to make the Indonesian government do the same. Seventeen South-Moluccan youngsters were tried and convicted and sentenced to up to six years imprisonment. This was one of a series of actions for this cause during the 1970s, including the 1975 Dutch train hostage crisis, the 1975 Indonesian consulate hostage crisis, the 1977 Dutch train hostage crisis, the 1977 Dutch school hostage crisis, and the 1978 Dutch province hall hostage crisis.\n\nOn 25 November 1975, Suriname seceded from the Dutch Kingdom and became independent. Representing the Queen at the independence ceremony in the Surinamese capital, Paramaribo, were the heir presumptive Princess Beatrix, and her husband Prince Claus.\n\nScandal rocked the royal family again in 1976, when it was revealed that Prince Bernhard had accepted a US$1.1 million bribe from U.S. aircraft manufacturer Lockheed Corporation to influence the Dutch government's purchase of fighter aircraft in what became known as the Lockheed Scandal.\n\nPrime Minister Joop den Uyl ordered an inquiry into the affair, while Prince Bernhard refused to answer reporters' questions, stating: \"I am above such things.\" Rather than calling on the queen to abdicate, the Dutch people were this time fearful that their beloved Juliana might abdicate out of shame or because of a criminal prosecution conducted in her name against her consort.\n\nOn 26 August 1976, a censored and toned-down yet devastating report on Prince Bernhard's activities was released to a shocked Dutch public. The prince resigned his various high-profile positions as a lieutenant admiral, a general, and an Inspector General of the Armed Forces. He resigned from his positions on the boards of many businesses, charities, the World Wildlife Fund, and other institutions. The prince also accepted that he would have to give up wearing his beloved uniforms. In return, the States-General accepted that there was to be no criminal prosecution.\n\nOn her Silver Jubilee in 1973, Queen Juliana donated all of the money that had been raised by the National Silver Jubilee Committee to organizations for children in need throughout the world. She donated the gift from the nation which she received on her seventieth birthday to the \"International Year of the Child\". As a reigning European monarch, she was given supernumerary membership of the Order of the Garter as the 922nd inductee, with the rank of Stranger Lady, in 1958.\n\nOn 30 April 1980, her 71st birthday, Queen Juliana abdicated and her eldest daughter succeeded her. Juliana remained active in numerous charitable causes until well into her eighties.\n\nQueen Juliana was very attached to Monte Argentario, in Tuscany, a favorite place for the Dutch royal family for their summer holidays for more than 40 years.\n\nIllness and death\n\nFrom the mid-1990s, Juliana's health declined and she also suffered the progressive onset of dementia. Juliana did not appear in public after this time. At the order of the Royal Family's doctors, Juliana was placed under 24-hour care. Prince Bernhard said in a television interview in 2001 that the former Queen was no longer able to recognise her family and that she had been suffering from Alzheimer's disease for several years.\n\nJuliana died in her sleep on 20 March 2004 at the age of 94, at Soestdijk Palace in Baarn from complications of pneumonia, seventy years to the day after her grandmother, Queen Emma. She was embalmed, unlike her mother Wilhelmina, who chose not to be, and on 30 March 2004 interred beside her mother in the royal vaults under the Nieuwe Kerk in Delft. The memorial service made her ecumenical and often highly personal views on matters of religion public. The late Princess, a Pastor said in her sermon, was interested in all religions and in reincarnation. Juliana's husband Prince Bernhard died about nine months later aged 93, on 1 December 2004; his remains were placed next to hers.\n\nIn 2009, an exhibition of portraits of Juliana, and objects from her life, was held at the Het Loo Palace to mark the centenary of her birth.\n\nTitles, styles, honours, and arms\nJuliana's full title and style as an unmarried woman was: Her Royal Highness Princess Juliana Louisa Emma Marie Wilhelmina of the Netherlands, Princess of Orange-Nassau, Duchess of Mecklenburg, etc.\n\nHer mother issued a decree allowing her to adopt her husband's princely title as customary, providing that it be preceded by the title she held as a member of the House of Mecklenburg. The decree became effective upon her marriage, and changed her full title and style to: Her Royal Highness Princess Juliana of the Netherlands, Princess of Orange-Nassau, Duchess of Mecklenburg, Princess of Lippe-Biesterfeld, etc.\n\nAfter her accession to the throne, Juliana's official title was: \"Her Majesty, Juliana, Queen of the Netherlands, Princess of Orange-Nassau, Duchess of Mecklenburg, Princess of Lippe-Biesterfeld, etc, etc, etc\". Upon her abdication, she resumed her pre-regnal marital title and style.\n\nHonours\n : Grand Star of the Decoration of Honour for Services to the Republic of Austria\n : Knight of the Order of the Garter\n : Grand Officer of the Order of the Legion of Merit\n\nArms\n\nIssue\n\nAncestry\n\nLegacy\n Shortly after her birth, the inhabitants of a small village near Den Helder asked permission from Queen Wilhelmina to name their village after the young princess. They received permission and they named their village Julianadorp.\n Princess Juliana Park in Ottawa, Ontario, Canada is named after her.\n Princess Juliana International Airport in St. Maarten is named after her.\nQueen Juliana Bridge in Willemstad, Curaçao is named after her.\n She is commemorated in space, in the name of the asteroid 816 Juliana.\n\nReferences\n\nExternal links\n\nQueen Juliana (1909-2004) at the Dutch Royal House website\nNetherlands Coronation (1948), newsreel on the British Pathé YouTube Channel\n \n\n1909 births\n2004 deaths\nDecolonization\nDeaths from pneumonia in the Netherlands\nPeople with Alzheimer's disease\nBurials in the Royal Crypt at Nieuwe Kerk, Delft\nNobility from The Hague\nPeople from South Holland\nDutch monarchs\nMembers of the Council of State (Netherlands)\nHeirs presumptive to the Dutch throne\nPrincesses of Orange-Nassau\nPrincesses of Orange\nDuchesses of Mecklenburg-Schwerin\nHouse of Orange-Nassau\nHouse of Mecklenburg-Schwerin\nQueens regnant\nFemale regents\nDutch regents\nMonarchs who abdicated\nLeiden University alumni\nProtestant monarchs\nDutch members of the Dutch Reformed Church\nDutch people of German descent\nDutch people of Russian descent\nArticles containing video clips\n20th-century women rulers\nFemale heirs apparent\nExtra Ladies of the Order of the Garter"
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what did Matthew Paris do as a historian?
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What did Matthew Paris do as a historian?
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Matthew Paris
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From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms. The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer. Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill. CANNOTANSWER
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Paris continued the history on the plan which his predecessors had followed.
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Matthew Paris, also known as Matthew of Paris (; c. 1200 – 1259), was an English Benedictine monk, chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". Some were written in Latin, some in Anglo-Norman or French verse.
His Chronica Majora is an oft-cited source, though modern historians recognise that Paris was not always reliable. He tended to glorify Holy Roman Emperor Frederick II and denigrate the Pope. However, in his Historia Anglorum, Paris displays a highly negative view of Frederick, going as far as to describe him as a "tyrant" who "committed disgraceful crimes".
Life and work
In spite of his surname and knowledge of the French language, Paris was of English birth, and is believed by some chroniclers to be of the Paris family of Hildersham, Cambridgeshire. He may have studied at Paris in his youth after early education at St Albans School. The first we know of Matthew Paris (from his own writings) is that he was admitted as a monk to St Albans in 1217. It is on the assumption that he was in his teens on admission that his birth date is estimated; some scholars suspect he may have been ten years or more older; many monks only entered monastic life after pursuing a career in the world outside. He was clearly at ease with the nobility and even royalty, which may indicate that he came from a family of some status, although it also seems an indication of his personality. His life was mainly spent in this religious house. In 1248, Paris was sent to Norway as the bearer of a message from Louis IX to Haakon IV; he made himself so agreeable to the Norwegian sovereign that he was invited to superintend the reformation of the Benedictine Nidarholm Abbey outside Trondheim.
Apart from these missions, his known activities were devoted to the composition of history, a pursuit for which the monks of St Albans had long been famous. After admission to the order in 1217, he inherited the mantle of Roger of Wendover, the abbey's official recorder of events, in 1236. Paris revised Roger's work, adding new material to cover his own tenure. This Chronica Majora is an important historical source document, especially for the period between 1235 and 1259. Equally interesting are the illustrations Paris created for his work.
The Dublin MS (see below) contains interesting notes, which shed light on Paris' involvement in other manuscripts, and on the way his own were used. They are in French and in his handwriting:
"If you please you can keep this book till Easter"
"G, please send to the Lady Countess of Arundel, Isabel, that she is to send you the book about St Thomas the Martyr and St Edward which I copied (translated?) and illustrated, and which the Lady Countess of Cornwall may keep until Whitsuntide"
some verses
"In the Countess of Winchester's book let there be a pair of images on each page thus": (verses follow describing thirteen saints)
It is presumed the last relates to Paris acting as commissioning agent and iconographical consultant for the Countess with another artist.
The lending of his manuscripts to aristocratic households, apparently for periods of weeks or months at a time, suggests why he made several different illustrated versions of his Chronicle.
Manuscripts by Matthew Paris
Paris' manuscripts mostly contain more than one text, and often begin with a rather random assortment of prefatory full-page miniatures. Some have survived incomplete, and the various elements now bound together may not have been intended to be so by Paris. Unless stated otherwise, all were given by Paris to his monastery (from some inscriptions it seems they were regarded as his property to dispose of). The monastic libraries were broken up at the Dissolution. These MSS seem to have been appreciated, and were quickly collected by bibliophiles. Many of his manuscripts in the British Library are from the Cotton Library.
Chronica Majora. Corpus Christi College, Cambridge, Mss 26 and 16, 362 x 244/248 mm. ff 141 + 281, composed 1240–53. His major historical work (see below), but less heavily illustrated per page than others. These two volumes contain annals from the creation of the world up to the year 1253. The content up to 1234 or 1235 is based in the main on Roger of Wendover's Flores Historiarum, with additions; after that date the material is Paris' own, and written in his own hand from the annal for 1213 onward. There are 100 marginal drawings (25 + 75), some fragmentary maps and an itinerary, and full-page drawings of William I. MS 16 has very recently had all prefatory matter re-bound separately.
A continuation of the Chronica, from 1254 until Paris' death in 1259, is bound with the Historia Anglorum in the British Library volume below. An unillustrated copy of the material from 1189 to 1250, with much of his sharper commentary about Henry III toned down or removed, was supervised by Paris himself and now exists as British Library Cotton MS Nero D V, fol. 162–393.
Flores Historiarum. Chetham's Hospital and Library, Manchester, MS 6712. Only part of the text, covering 1241 to 1249, is in Paris' hand, though he is credited with the authorship of the whole text, which is an abridgement of the Chronica with additions from the annals of Reading and of Southwark. Additional interpolations to the text make it clear the volume was created for Westminster Abbey. It was apparently started there, copying another MS of Paris' text that went up to 1240. Later it was sent back to the author for him to update; Vaughan argues this was in 1251-2. The illustrations are similar to Paris' style but not by him. Later additions took the chronicle up to 1327.
Historia Anglorum. British Library, Royal MS 14 C VII, fols. 8v–156v. 358 x 250 mm, ff 232 in all. A history of England, begun in 1250 and perhaps completed around 1255, covering the years 1070–1253. The text is an abridgement of the Chronica, also drawing on Wendover's Flores Historiarum and Paris' earlier edited version of the Chronica. Bound with it is the final part of Paris' Chronica Majora, covering the years 1254–1259 (folios 157–218), and prefatory material including an itinerary from London to Jerusalem and tinted drawings of the kings of England. All is in Paris' own hand, apart from folios 210–218 and 154v-156v, which are in a hand of the scribe who has added a note of Matthew Paris' death (f. 218v). The Chronica concludes with a portrait of Paris on his death-bed, presumably not by him. By the 15th century this volume belonged to Humphrey, Duke of Gloucester, son of Henry IV, who inscribed it "Ceste livre est a moy Homffrey Duc de Gloucestre". Later it was held by the bishop of Lincoln, who wrote a note that if the monks of St Albans could prove the book was a loan, they should have it back. Otherwise it was bequeathed to New College, Oxford. The fact that the book was acquired by a 16th-century Earl of Arundel suggests that Duke Humphrey's inscription was not entirely accurate, as New College would probably not have disposed of it.
Abbreviatio chronicorum (or Historia minor), British Library Cotton MS Claudius D VI, fols. 5–100. Another shortened history, mainly covering 1067 to 1253. Probably begun circa 1255, it remained unfinished at Paris' death. Illustrated with thirty-three seated figures of English kings illustrating a genealogy. It also contains the most developed of Paris' four maps of Great Britain.
Chronica excerpta a magnis cronicis. British Library Cotton MS Vitellius A XX, folios 77r–108v. Covers from 1066 to 1246. Written at some point between 1246 and 1259. Not definitely by Paris, but evidently written under his supervision, with some of the text in his own hand.
Book of Additions (Liber additamentorum) British Library Cotton MS Nero D I, ff202 in all, contains maps, Vitae duorum Offarum (illustrated), Gesta abbatum, the lives of the first 23 abbots of St Albans with a miniature portrait of each, coats of arms, as well as copies of original documents. A version of his well-known drawing of an elephant is in this volume, as is a large drawing of Christ, not by Paris.
Life of St Alban etc., dating controversial (1230–1250), Trinity College, Dublin Library, Ms 177 (former Ms E.I.40) 77 ff with 54 miniatures, mostly half-page. 240 x 165 mm. Also contains a Life of St Amphibalus, and various other works relating to the history of St Albans Abbey, both also illustrated. The Life of St Alban is in French verse, adapted from a Latin Life of St Alban by William of St Albans, ca. 1178. The manuscript also contains notes in Paris' hand (see above) showing that his manuscripts were lent to various aristocratic ladies for periods, and that he probably acted as an intermediary between commissioners of manuscripts and the (probably) lay artists who produced them, advising on the calendars and iconography.
Life of King Edward the Confessor 1230s or 40s, Cambridge University Library MS. Ee.3.59. This is the only surviving copy of this work, but is believed to be a slightly later copy made in London, probably by court artists, of Paris' text and framed illustrations. Based on the Latin Life of Edward the Confessor by Aelred of Rievaulx, c. 1162.
Life of St Thomas of Canterbury, British Library, Loan MS 88 – Four leaves (the "Becket Leaves") survive from a French-verse history of the life of Thomas Becket with large illuminations. Based on the Latin Quadrilogus compiled by Elias of Evesham at Crowland Abbey in 1198. The illuminations are attributed to Paris by Janet Backhouse, but not by Nigel Morgan. Vaughan had previously noted that the leaves from the Life of St Thomas and the Life of King Edward are of different sizes, and written by different scribes, neither of them Paris himself, so they are not likely to be part of the manuscript that Paris wrote of having lent to the Countess of Arundel; but that, "to judge from the script and the style of illumination" they are "very close copies of Matthew [Paris]'s original".
Life of St Edmund, a French-verse history of the life of Edmund Rich, Archbishop of Canterbury from 1233 to 1240. Based on Paris' own Latin prose life of Rich, composed in the late 1240s, which drew on a collection of materials made at Pontigny, statements from Robert Bacon and Richard Wych, Bishop of Chichester, and other materials including from Paris' own histories. A 14th-century copy of the prose life has survived in British Library Cotton MS Julius D VI, folios 123–156v. One copy of the verse life that was in Cotton MS Vitellius D VIII was destroyed in the fire of 1731; but another copy was discovered in the early 1900s at Welbeck Abbey and is now in the British Library.
Liber Experimentarius of Bernardus Silvestris, and other fortune-telling tracts. Bodleian Library, Oxford, Ms. Ashmole 304, 176 x 128 mm, ff72. Many illustrations: author portraits (many of ancient Greeks – Socrates, Plato, Euclid, Pythagoras), birds, tables and diagrams of geomantic significance. Several later copies of the text and illustrations survive. Provenance before 1602 unknown.
Miscellaneous writings by John of Wallingford (the Younger), British Library, MS Cotton Julius D VII, 188 × 130 mm, ff. 134. 1247–58. Mostly scribed by John of Wallingford, another monk of St Albans, who also probably did some drawings. A portrait of John, a map of the British Isles, and a Christ in Majesty are all accepted as by Paris. The main text is a chronicle, highly derivative of Paris's. This was John's property, left to his final monastery at Wymondham.
Also, fragments of a Latin biography of Stephen Langton. Various other works, especially maps.
A panel painting on oak of St Peter, the only surviving part of a tabernacle shrine (1850 x 750 mm), in the Museum of Oslo University has been attributed to Paris, presumably dating from his visit in 1248. Local paintings are usually on pine, so he may have brought this with him, or sent it later.
Paris as an artist
In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" – unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century.
Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him.
Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I.
Paris as a historian
From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms.
The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica Majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer.
Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill.
Paris as cartographer
Outstanding among his other maps were (four versions of) a pilgrim itinerary charting the route from London to Rome in graphic form. A sequence of pictures of towns on the route marked the terminus of each day's travel, enabling the viewer to envisage and follow the whole journey rather like a comic strip – an achievement unprecedented elsewhere in the medieval world.
Studies of Matthew Paris
The relation of Matthew Paris's work to those of John de Celia (John of Wallingford) and Roger of Wendover may be studied in Henry Richards Luard's edition of the Chronica Majora (7 vols., Rolls series, 1872–1881), which contains valuable prefaces. The Historia Anglorum sive historia minor (1067–1253) has been edited by Frederic Madden (3 vols., Rolls series, 1866–1869).
Matthew Paris is sometimes confused with Matthew of Westminster, the reputed author of the Flores historiarum edited by Luard (3 vols., Rolls series, 1890). This work, compiled by various hands, is an edition of Matthew Paris, with continuations extending to 1326.
He wrote a life of St Edmund of Abingdon, sometime Archbishop of Canterbury.
He also wrote the Anglo-Norman La Estoire de Seint Aedward le Rei (the History of Saint Edward the King), which survives in a beautifully illuminated manuscript version, Cambridge, Cambridge University Library MS. Ee.3.59. The manuscript has had a varied publication history. Sections were printed in Francisque Michel's Chroniques Anglo-Normandes. Luard's edition for the Rolls series was severely criticized; it was re-edited for the Anglo-Norman Text Society by K. Y. Wallace. A facsimile for the Roxburghe Club was edited by M. R. James, and the whole manuscript has been digitalized and can be seen online.
Paris House at St Albans High School for Girls is named after him.
Notes
Bibliography
(on manuscripts, and artistic style)
External links
Images
Stanford Digitized texts – Works by and about Paris, including Vaughan etc, in huge pdf files
JSTOR review of Vaughan book
Matthew Paris' Jerusalem pilgrim's travel guide: information, zoomable image British Library website
Art Bulletin article on his maps;Imagined Pilgrimage in the Itinerary Maps of Matthew Paris. 12/1/1999 by Connolly, Daniel K
Latin Chroniclers from the Eleventh to the Thirteenth Centuries:Matthew Paris from The Cambridge History of English and American Literature, Volume I, 1907–21.
Life of St Edward the Confessor, Cambridge Digital Library
Fully annotated copy of Matthew Paris's Claudius Map, with translations and transcriptions
1200 births
1259 deaths
Year of birth uncertain
People from St Albans
English Benedictines
English Christian monks
English chroniclers
English cartographers
English historians
Historians of the Catholic Church
Heraldists
Manuscript illuminators
Writers who illustrated their own writing
Medieval European scribes
People educated at St Albans School, Hertfordshire
Artist authors
Medieval English painters
13th-century Christian monks
13th-century painters
13th-century English artists
13th-century Latin writers
13th-century English writers
13th-century English people
13th-century historians
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"The Chronica Majora is the seminal work of Matthew Paris, a member of the English Benedictine community of St Albans and long-celebrated historian. The work begins with Creation and contains annals down to the year of Paris' death of 1259. The Chronica has long been considered a contemporary attempt to present a universal history of the world.\n\nWritten in Latin, the illustrated autograph copy of the Chronica Majora survives in three volumes. The first two parts, covering Creation up to 1188 as well as the years 1189 to 1253 (MS 26 and MS 16), are contained in the Parker Library at Corpus Christi College, Cambridge. The remainder of the Chronica, from 1254 until Matthew's death in 1259, is in the British Library, bound as Royal MS 14 C VII folios 157–218, following Matthew's Historia Anglorum (an abridgement of the Chronica covering the period from 1070 to 1253).\n\nThe Chronica is also renowned for its author's unprecedented use of archival and documentary material. These sources, amounting to over 200 items, include charters dating back to the eighth century, the rights of St Albans, a dossier relating to the canonisation of St Edmund of Canterbury and even a documented list of precious gems and artefacts in possession of St Albans. This exhaustive list of material required its own appendix which later became a separate volume, the Liber Additamentorum.\n\nThe Chronica is one of the most important surviving documents for the history of Latin Europe. Despite its focus on England, Matthew's work extends to regions as far afield as Norway, Hungary, and Sicily as well as the crusader states. It continues to be mined for its coverage of the Mongol invasions, its detailed report of the conflict between Frederick II and successive popes, as well as its commentary on the outbreak of the Barons’ War of 1258–1267. In addition to Matthew's literary abilities, he was an accomplished draughtsman. The surviving manuscripts are considered to be the foremost examples of English Gothic Manuscript, and they include some of the earliest surviving maps of Britain and the Holy Land.\n\nMethodology \nDuring the late twelfth century, historians sought to differentiate between their own work and that of the monastic annal-writers. Gervase of Canterbury, whose work influenced Matthew Paris's writing, wrote the following in 1188:\n\n\"The historian proceeds diffusely and elegantly, whereas the chronicler proceeds simply, gradually and briefly. The Chronicler computes the years Anno Domini and months kalends, and briefly describes the actions of kings and princes which occurred at those times; he also commemorates events, portents and wonders.\"\n\nAlthough Matthew stands alone in the breadth of his research and in his illustrations, his writing is characteristic of thirteenth-century attempts to synthesize and consolidate historical writing, by broadening the annalistic genre into a more universal form of expression. This process of evolution helps to account for the quasi-journalistic structure of the Chronica. Matthew set out to shape the work in a chronological order, but it developed into a multi-layered pastiche because he continued the monastic practices of revising and augmenting entries retrospectively.\n\nSuzanne Lewis claims that Roger of Wendover, Matthew's predecessor, had a resounding influence on Matthew's works. Matthew's Chronica was largely a continuation of Roger's annals up to 1235 with the occasional addition of phrases and anecdotes for dramatic effect. However, Matthew went beyond what was customary by his very extensive inclusion of sources and evidences. Although it had long been usual to include the texts of documents in Christian historical narratives, the Chronica incorporated a hitherto unparalleled amount of such material. In addition, the number of changes made to the Chronica suggests that Matthew adapted and reworked much of his material, and in so molding it he enlarged both his own role as author and the historiographical nature of his writing.\n\nHistoriography \nMatthew's status as an historian has long been the subject of academic debate. While many maintain that Matthew never intended to be a \"humble compiler of dated events\" (as Lewis explains), some still regard his work as a cumbersome annalistic production.\n\nLewis observed that, in the Chronica, \"the downfall of a great king must compete for attention with the birth of a two-headed calf.\" Matthew placed great importance on reference to portents and marvels, notably in his preface and in the closing pages of the Chronica. The latter contained a list of marvels which he claimed to have occurred over a fifty-year period.\n\nSuch reporting was undoubtedly rooted in the Latin models, such as Cicero, who influenced both Matthew and his contemporaries. In Classical writings a moral polemic was often achieved by presenting narratives exemplifying good and evil for the edification of the reader. This convention is woven into the Chronica with great dexterity by Matthew. He posed rhetorical questions concerning the deeds and actions of people and why such things warranted being written down. In the eyes of Matthew, who was a conservative Benedictine monk, signs and portents forewarned of famine and other miseries that would befall humanity in retribution for their sins. In essence Matthew believed that history, and the sinful actions that forged it, would prompt sinners to hasten quickly to seek God's forgiveness.\n\nTo Matthew, history was a matter of moral instruction and a means to provide guidance to the earthly and celestial well-being of God's people. Matthew saw the reporting of history as a platform through which the mistakes of men could be presented as a lesson from which to learn. From his treatment of the Jews to his coverage of the Mongol invasion, Matthew wrote from a position of self-interest. He tended to distort history and his source material in order to preserve the integrity of his abbey and kingdom. What has been agreed upon is that the Chronica, at the very least, provides insight into what history meant to contemporaries and how they used it to reconcile their place within their world. It provides an encyclopedic history of the affairs of his community and an unprecedented number of insightful sources and documents which would never otherwise have survived.\n\nThe Wandering Jew \n\nMatthew Paris's Chronica Majora contains one of the first extant descriptions and images of the Wandering Jew, a legendary figure who struck and scolded Jesus on his way to the crucifixion, thereby becoming doomed to walk the earth until the Second Coming.\n\nThe drawing of the Wandering Jew, likely done by Matthew Paris himself, embodies the paradoxical theological position of Jews in early and medieval Christianity as espoused by Augustine. Standing hunched over with a mattock (a symbol associated with Cain) behind Jesus as he progresses to Calvary, the depiction of the Wandering Jew represents the idea of Jewish sinfulness fixed throughout time as a contrast to Christ's upright moral progression. The drawing also visualizes the notion of Christian supersessionism.\n\nEditions \n Matthew Parker (1571); 1589 Zurich Edition at (Bayerische StaatsBibliothek digital), (Google); (1606)\n William Wats (1641); 1644 Paris Edition at (Google); 1684 edition at (Hathi Trust)\n Henry Richards Luard, for the Rolls series (1872–80): vol 1, vol 2, vol 3, vol 4, vol 5, vol 6 (the Additamenta), vol 7 (Index and Glossary)\nFelix Liebermann, for the MGH (1888) (Excerpts) Link\n\nTranslations \n\n English translation by John Allen Giles (1852–54), vol 1, vol 2, vol 3 [1235 to 1259 only, from Wats, with the continuation to 1273]\n\nFurther reading \n Richard Vaughan: Matthew Paris, Cambridge Studies in Medieval Life and Thought, New ser. 6 (Cambridge, 1958), (Internet Archive)\n Richard Vaughan (ed. and tr): The Chronicles of Matthew Paris: Monastic Life in the Thirteenth Century (Gloucester, 1984).\n Richard Vaughan: The Illustrated Chronicles of Matthew Paris. Stroud: Alan Sutton, 1993. \n Suzanne Lewis: The Art of Matthew Paris in the Chronica Majora. University of California Press, 1987 (California Studies in the History of Art) ( online excerpt, about the elephant)\n\nReferences\n\n13th-century history books\n13th-century illuminated manuscripts\nIlluminated histories\nManuscripts of Corpus Christi College, Cambridge\n13th-century Latin books\nEnglish chronicles\nFrederick II, Holy Roman Emperor",
"The historian's fallacy is an informal fallacy that occurs when one assumes that decision makers of the past viewed events from the same perspective and having the same information as those subsequently analyzing the decision. It is not to be confused with presentism, a mode of historical analysis in which present-day ideas (such as moral standards) are projected into the past. The idea was first articulated by British literary critic Matthew Arnold in 1880 and later named and defined by American historian David Hackett Fischer in 1970.\n\nConcept\nThe idea that a critic can make erroneous interpretations of past works because of knowledge of subsequent events was first articulated by Matthew Arnold. In his 1880 essay The Study of Poetry, he wrote:\n\nThe course of development of a nation’s language, thought, and poetry, is profoundly interesting; and by regarding a poet’s work as a stage in this course of development we may easily bring ourselves to make it of more importance as poetry than in itself it really is, we may come to use a language of quite exaggerated praise in criticising it; in short, to overrate it. So arises in our poetic judgments the fallacy caused by the estimate which we may call historic.\n\nThe concept of the historian's fallacy was named and outlined in 1970 by David Hackett Fischer, who suggested it was analogous to William James's psychologist's fallacy. Fischer did not suggest that historians should refrain from retrospective analysis in their work, but he reminded historians that their subjects were not able to see into the future. As an example, he cited the well-known argument that Japan's surprise attack on Pearl Harbor should have been predictable in the United States because of the many indications that an attack was imminent. What this argument overlooks, Fischer, citing the work of Roberta Wohlstetter, states that there were innumerable conflicting signs which suggested possibilities other than an attack on Pearl Harbor. Only in retrospect do the warning signs seem obvious; signs that pointed in other directions tend to be forgotten. (See also hindsight bias.)\n\nIn the field of military history, historians sometimes use what is known as the \"fog of war technique\" in hopes of avoiding the historian's fallacy. In this approach, the actions and decisions of the historical subject (such as a military commander) are evaluated primarily on the basis of what that person knew at the time, and not on future developments that the person could not have known. According to Fischer, this technique was pioneered by the American historian Douglas Southall Freeman in his influential biographies of Robert E. Lee and George Washington.\n\nSee also \n \n \n \n \n \nPresentism -- Anachronistically introducing present-day ideas and perspectives into depictions or interpretations of the past.\n\nReferences\n\nFurther reading\n Fischer, David Hackett. Historians' Fallacies: Toward a Logic of Historical Thought. New York: Harper Torchbooks, 1970, pp. 209–13.\n\nExternal links \n\nHistorian's Fallacy Fallacious, the Ultimate Collection of 300 Logical Fallacies\n\nInformal fallacies\nHistoriography\n1970 introductions"
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[
"Matthew Paris",
"Paris as a historian",
"what did Matthew Paris do as a historian?",
"Paris continued the history on the plan which his predecessors had followed."
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C_90b59744f071414bb128d11a7e2d0661_0
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what was the history that the predecessors had followed?
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What was the history that Matthew Paris' predecessors had followed?
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Matthew Paris
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From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms. The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer. Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill. CANNOTANSWER
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He derived much of his information from the letters of important people,
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Matthew Paris, also known as Matthew of Paris (; c. 1200 – 1259), was an English Benedictine monk, chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". Some were written in Latin, some in Anglo-Norman or French verse.
His Chronica Majora is an oft-cited source, though modern historians recognise that Paris was not always reliable. He tended to glorify Holy Roman Emperor Frederick II and denigrate the Pope. However, in his Historia Anglorum, Paris displays a highly negative view of Frederick, going as far as to describe him as a "tyrant" who "committed disgraceful crimes".
Life and work
In spite of his surname and knowledge of the French language, Paris was of English birth, and is believed by some chroniclers to be of the Paris family of Hildersham, Cambridgeshire. He may have studied at Paris in his youth after early education at St Albans School. The first we know of Matthew Paris (from his own writings) is that he was admitted as a monk to St Albans in 1217. It is on the assumption that he was in his teens on admission that his birth date is estimated; some scholars suspect he may have been ten years or more older; many monks only entered monastic life after pursuing a career in the world outside. He was clearly at ease with the nobility and even royalty, which may indicate that he came from a family of some status, although it also seems an indication of his personality. His life was mainly spent in this religious house. In 1248, Paris was sent to Norway as the bearer of a message from Louis IX to Haakon IV; he made himself so agreeable to the Norwegian sovereign that he was invited to superintend the reformation of the Benedictine Nidarholm Abbey outside Trondheim.
Apart from these missions, his known activities were devoted to the composition of history, a pursuit for which the monks of St Albans had long been famous. After admission to the order in 1217, he inherited the mantle of Roger of Wendover, the abbey's official recorder of events, in 1236. Paris revised Roger's work, adding new material to cover his own tenure. This Chronica Majora is an important historical source document, especially for the period between 1235 and 1259. Equally interesting are the illustrations Paris created for his work.
The Dublin MS (see below) contains interesting notes, which shed light on Paris' involvement in other manuscripts, and on the way his own were used. They are in French and in his handwriting:
"If you please you can keep this book till Easter"
"G, please send to the Lady Countess of Arundel, Isabel, that she is to send you the book about St Thomas the Martyr and St Edward which I copied (translated?) and illustrated, and which the Lady Countess of Cornwall may keep until Whitsuntide"
some verses
"In the Countess of Winchester's book let there be a pair of images on each page thus": (verses follow describing thirteen saints)
It is presumed the last relates to Paris acting as commissioning agent and iconographical consultant for the Countess with another artist.
The lending of his manuscripts to aristocratic households, apparently for periods of weeks or months at a time, suggests why he made several different illustrated versions of his Chronicle.
Manuscripts by Matthew Paris
Paris' manuscripts mostly contain more than one text, and often begin with a rather random assortment of prefatory full-page miniatures. Some have survived incomplete, and the various elements now bound together may not have been intended to be so by Paris. Unless stated otherwise, all were given by Paris to his monastery (from some inscriptions it seems they were regarded as his property to dispose of). The monastic libraries were broken up at the Dissolution. These MSS seem to have been appreciated, and were quickly collected by bibliophiles. Many of his manuscripts in the British Library are from the Cotton Library.
Chronica Majora. Corpus Christi College, Cambridge, Mss 26 and 16, 362 x 244/248 mm. ff 141 + 281, composed 1240–53. His major historical work (see below), but less heavily illustrated per page than others. These two volumes contain annals from the creation of the world up to the year 1253. The content up to 1234 or 1235 is based in the main on Roger of Wendover's Flores Historiarum, with additions; after that date the material is Paris' own, and written in his own hand from the annal for 1213 onward. There are 100 marginal drawings (25 + 75), some fragmentary maps and an itinerary, and full-page drawings of William I. MS 16 has very recently had all prefatory matter re-bound separately.
A continuation of the Chronica, from 1254 until Paris' death in 1259, is bound with the Historia Anglorum in the British Library volume below. An unillustrated copy of the material from 1189 to 1250, with much of his sharper commentary about Henry III toned down or removed, was supervised by Paris himself and now exists as British Library Cotton MS Nero D V, fol. 162–393.
Flores Historiarum. Chetham's Hospital and Library, Manchester, MS 6712. Only part of the text, covering 1241 to 1249, is in Paris' hand, though he is credited with the authorship of the whole text, which is an abridgement of the Chronica with additions from the annals of Reading and of Southwark. Additional interpolations to the text make it clear the volume was created for Westminster Abbey. It was apparently started there, copying another MS of Paris' text that went up to 1240. Later it was sent back to the author for him to update; Vaughan argues this was in 1251-2. The illustrations are similar to Paris' style but not by him. Later additions took the chronicle up to 1327.
Historia Anglorum. British Library, Royal MS 14 C VII, fols. 8v–156v. 358 x 250 mm, ff 232 in all. A history of England, begun in 1250 and perhaps completed around 1255, covering the years 1070–1253. The text is an abridgement of the Chronica, also drawing on Wendover's Flores Historiarum and Paris' earlier edited version of the Chronica. Bound with it is the final part of Paris' Chronica Majora, covering the years 1254–1259 (folios 157–218), and prefatory material including an itinerary from London to Jerusalem and tinted drawings of the kings of England. All is in Paris' own hand, apart from folios 210–218 and 154v-156v, which are in a hand of the scribe who has added a note of Matthew Paris' death (f. 218v). The Chronica concludes with a portrait of Paris on his death-bed, presumably not by him. By the 15th century this volume belonged to Humphrey, Duke of Gloucester, son of Henry IV, who inscribed it "Ceste livre est a moy Homffrey Duc de Gloucestre". Later it was held by the bishop of Lincoln, who wrote a note that if the monks of St Albans could prove the book was a loan, they should have it back. Otherwise it was bequeathed to New College, Oxford. The fact that the book was acquired by a 16th-century Earl of Arundel suggests that Duke Humphrey's inscription was not entirely accurate, as New College would probably not have disposed of it.
Abbreviatio chronicorum (or Historia minor), British Library Cotton MS Claudius D VI, fols. 5–100. Another shortened history, mainly covering 1067 to 1253. Probably begun circa 1255, it remained unfinished at Paris' death. Illustrated with thirty-three seated figures of English kings illustrating a genealogy. It also contains the most developed of Paris' four maps of Great Britain.
Chronica excerpta a magnis cronicis. British Library Cotton MS Vitellius A XX, folios 77r–108v. Covers from 1066 to 1246. Written at some point between 1246 and 1259. Not definitely by Paris, but evidently written under his supervision, with some of the text in his own hand.
Book of Additions (Liber additamentorum) British Library Cotton MS Nero D I, ff202 in all, contains maps, Vitae duorum Offarum (illustrated), Gesta abbatum, the lives of the first 23 abbots of St Albans with a miniature portrait of each, coats of arms, as well as copies of original documents. A version of his well-known drawing of an elephant is in this volume, as is a large drawing of Christ, not by Paris.
Life of St Alban etc., dating controversial (1230–1250), Trinity College, Dublin Library, Ms 177 (former Ms E.I.40) 77 ff with 54 miniatures, mostly half-page. 240 x 165 mm. Also contains a Life of St Amphibalus, and various other works relating to the history of St Albans Abbey, both also illustrated. The Life of St Alban is in French verse, adapted from a Latin Life of St Alban by William of St Albans, ca. 1178. The manuscript also contains notes in Paris' hand (see above) showing that his manuscripts were lent to various aristocratic ladies for periods, and that he probably acted as an intermediary between commissioners of manuscripts and the (probably) lay artists who produced them, advising on the calendars and iconography.
Life of King Edward the Confessor 1230s or 40s, Cambridge University Library MS. Ee.3.59. This is the only surviving copy of this work, but is believed to be a slightly later copy made in London, probably by court artists, of Paris' text and framed illustrations. Based on the Latin Life of Edward the Confessor by Aelred of Rievaulx, c. 1162.
Life of St Thomas of Canterbury, British Library, Loan MS 88 – Four leaves (the "Becket Leaves") survive from a French-verse history of the life of Thomas Becket with large illuminations. Based on the Latin Quadrilogus compiled by Elias of Evesham at Crowland Abbey in 1198. The illuminations are attributed to Paris by Janet Backhouse, but not by Nigel Morgan. Vaughan had previously noted that the leaves from the Life of St Thomas and the Life of King Edward are of different sizes, and written by different scribes, neither of them Paris himself, so they are not likely to be part of the manuscript that Paris wrote of having lent to the Countess of Arundel; but that, "to judge from the script and the style of illumination" they are "very close copies of Matthew [Paris]'s original".
Life of St Edmund, a French-verse history of the life of Edmund Rich, Archbishop of Canterbury from 1233 to 1240. Based on Paris' own Latin prose life of Rich, composed in the late 1240s, which drew on a collection of materials made at Pontigny, statements from Robert Bacon and Richard Wych, Bishop of Chichester, and other materials including from Paris' own histories. A 14th-century copy of the prose life has survived in British Library Cotton MS Julius D VI, folios 123–156v. One copy of the verse life that was in Cotton MS Vitellius D VIII was destroyed in the fire of 1731; but another copy was discovered in the early 1900s at Welbeck Abbey and is now in the British Library.
Liber Experimentarius of Bernardus Silvestris, and other fortune-telling tracts. Bodleian Library, Oxford, Ms. Ashmole 304, 176 x 128 mm, ff72. Many illustrations: author portraits (many of ancient Greeks – Socrates, Plato, Euclid, Pythagoras), birds, tables and diagrams of geomantic significance. Several later copies of the text and illustrations survive. Provenance before 1602 unknown.
Miscellaneous writings by John of Wallingford (the Younger), British Library, MS Cotton Julius D VII, 188 × 130 mm, ff. 134. 1247–58. Mostly scribed by John of Wallingford, another monk of St Albans, who also probably did some drawings. A portrait of John, a map of the British Isles, and a Christ in Majesty are all accepted as by Paris. The main text is a chronicle, highly derivative of Paris's. This was John's property, left to his final monastery at Wymondham.
Also, fragments of a Latin biography of Stephen Langton. Various other works, especially maps.
A panel painting on oak of St Peter, the only surviving part of a tabernacle shrine (1850 x 750 mm), in the Museum of Oslo University has been attributed to Paris, presumably dating from his visit in 1248. Local paintings are usually on pine, so he may have brought this with him, or sent it later.
Paris as an artist
In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" – unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century.
Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him.
Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I.
Paris as a historian
From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms.
The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica Majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer.
Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill.
Paris as cartographer
Outstanding among his other maps were (four versions of) a pilgrim itinerary charting the route from London to Rome in graphic form. A sequence of pictures of towns on the route marked the terminus of each day's travel, enabling the viewer to envisage and follow the whole journey rather like a comic strip – an achievement unprecedented elsewhere in the medieval world.
Studies of Matthew Paris
The relation of Matthew Paris's work to those of John de Celia (John of Wallingford) and Roger of Wendover may be studied in Henry Richards Luard's edition of the Chronica Majora (7 vols., Rolls series, 1872–1881), which contains valuable prefaces. The Historia Anglorum sive historia minor (1067–1253) has been edited by Frederic Madden (3 vols., Rolls series, 1866–1869).
Matthew Paris is sometimes confused with Matthew of Westminster, the reputed author of the Flores historiarum edited by Luard (3 vols., Rolls series, 1890). This work, compiled by various hands, is an edition of Matthew Paris, with continuations extending to 1326.
He wrote a life of St Edmund of Abingdon, sometime Archbishop of Canterbury.
He also wrote the Anglo-Norman La Estoire de Seint Aedward le Rei (the History of Saint Edward the King), which survives in a beautifully illuminated manuscript version, Cambridge, Cambridge University Library MS. Ee.3.59. The manuscript has had a varied publication history. Sections were printed in Francisque Michel's Chroniques Anglo-Normandes. Luard's edition for the Rolls series was severely criticized; it was re-edited for the Anglo-Norman Text Society by K. Y. Wallace. A facsimile for the Roxburghe Club was edited by M. R. James, and the whole manuscript has been digitalized and can be seen online.
Paris House at St Albans High School for Girls is named after him.
Notes
Bibliography
(on manuscripts, and artistic style)
External links
Images
Stanford Digitized texts – Works by and about Paris, including Vaughan etc, in huge pdf files
JSTOR review of Vaughan book
Matthew Paris' Jerusalem pilgrim's travel guide: information, zoomable image British Library website
Art Bulletin article on his maps;Imagined Pilgrimage in the Itinerary Maps of Matthew Paris. 12/1/1999 by Connolly, Daniel K
Latin Chroniclers from the Eleventh to the Thirteenth Centuries:Matthew Paris from The Cambridge History of English and American Literature, Volume I, 1907–21.
Life of St Edward the Confessor, Cambridge Digital Library
Fully annotated copy of Matthew Paris's Claudius Map, with translations and transcriptions
1200 births
1259 deaths
Year of birth uncertain
People from St Albans
English Benedictines
English Christian monks
English chroniclers
English cartographers
English historians
Historians of the Catholic Church
Heraldists
Manuscript illuminators
Writers who illustrated their own writing
Medieval European scribes
People educated at St Albans School, Hertfordshire
Artist authors
Medieval English painters
13th-century Christian monks
13th-century painters
13th-century English artists
13th-century Latin writers
13th-century English writers
13th-century English people
13th-century historians
| true |
[
"The New River, Holston and Western Railroad was an intrastate railroad in southwestern Virginia.\n\nIt extended from Narrows on the New River in Giles County to Suiter in Bland County. The railroad followed the course of Wolf Creek or its tributaries for its entire length. The total distance between Narrows and Suiter is approximately 43 miles.\n\nConstruction started in 1903 from Narrows, but only three miles of track was laid. In 1912, the line was extended to Rocky Gap and by 1914 had reached Suiter. In 1919, the line was sold to the Norfolk and Western Railway. Operations continued until 1946.\n\nReferences\n\nBrief history, photos, and remembrances\n\nDefunct Virginia railroads\nPredecessors of the Norfolk and Western Railway\nRailway companies established in 1900\nRailway companies disestablished in 1919",
"The German Union of Building Trades (, DBB) was a trade union representing construction workers in Germany.\n\nThe union was founded on 1 January 1923, when the German Construction Workers' Union merged with the Central Union of Glaziers, and the Central Union of Potters. Like its predecessors, it affiliated to the General German Trade Union Confederation. In 1924, the Union of Asphalters joined, followed in 1931 by the Central Union of Roofers. In 1924, the union had 435,156 members, making it the third largest union in the country. It was organised in 18 districts.\n\nIn May 1933, the union was banned by the Nazis. After World War II, a new Building and Construction Union was formed.\n\nPresidents\n1923: Fritz Paeplow\n1927: Nikolaus Bernhard\n\nReferences\n\nBuilding and construction trade unions\nTrade unions in Germany\nTrade unions established in 1923\nTrade unions disestablished in 1933"
] |
[
"Matthew Paris",
"Paris as a historian",
"what did Matthew Paris do as a historian?",
"Paris continued the history on the plan which his predecessors had followed.",
"what was the history that the predecessors had followed?",
"He derived much of his information from the letters of important people,"
] |
C_90b59744f071414bb128d11a7e2d0661_0
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what did he write about?
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What did Matthew Paris write about?
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Matthew Paris
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From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms. The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer. Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill. CANNOTANSWER
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from conversation with the eyewitnesses of events.
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Matthew Paris, also known as Matthew of Paris (; c. 1200 – 1259), was an English Benedictine monk, chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". Some were written in Latin, some in Anglo-Norman or French verse.
His Chronica Majora is an oft-cited source, though modern historians recognise that Paris was not always reliable. He tended to glorify Holy Roman Emperor Frederick II and denigrate the Pope. However, in his Historia Anglorum, Paris displays a highly negative view of Frederick, going as far as to describe him as a "tyrant" who "committed disgraceful crimes".
Life and work
In spite of his surname and knowledge of the French language, Paris was of English birth, and is believed by some chroniclers to be of the Paris family of Hildersham, Cambridgeshire. He may have studied at Paris in his youth after early education at St Albans School. The first we know of Matthew Paris (from his own writings) is that he was admitted as a monk to St Albans in 1217. It is on the assumption that he was in his teens on admission that his birth date is estimated; some scholars suspect he may have been ten years or more older; many monks only entered monastic life after pursuing a career in the world outside. He was clearly at ease with the nobility and even royalty, which may indicate that he came from a family of some status, although it also seems an indication of his personality. His life was mainly spent in this religious house. In 1248, Paris was sent to Norway as the bearer of a message from Louis IX to Haakon IV; he made himself so agreeable to the Norwegian sovereign that he was invited to superintend the reformation of the Benedictine Nidarholm Abbey outside Trondheim.
Apart from these missions, his known activities were devoted to the composition of history, a pursuit for which the monks of St Albans had long been famous. After admission to the order in 1217, he inherited the mantle of Roger of Wendover, the abbey's official recorder of events, in 1236. Paris revised Roger's work, adding new material to cover his own tenure. This Chronica Majora is an important historical source document, especially for the period between 1235 and 1259. Equally interesting are the illustrations Paris created for his work.
The Dublin MS (see below) contains interesting notes, which shed light on Paris' involvement in other manuscripts, and on the way his own were used. They are in French and in his handwriting:
"If you please you can keep this book till Easter"
"G, please send to the Lady Countess of Arundel, Isabel, that she is to send you the book about St Thomas the Martyr and St Edward which I copied (translated?) and illustrated, and which the Lady Countess of Cornwall may keep until Whitsuntide"
some verses
"In the Countess of Winchester's book let there be a pair of images on each page thus": (verses follow describing thirteen saints)
It is presumed the last relates to Paris acting as commissioning agent and iconographical consultant for the Countess with another artist.
The lending of his manuscripts to aristocratic households, apparently for periods of weeks or months at a time, suggests why he made several different illustrated versions of his Chronicle.
Manuscripts by Matthew Paris
Paris' manuscripts mostly contain more than one text, and often begin with a rather random assortment of prefatory full-page miniatures. Some have survived incomplete, and the various elements now bound together may not have been intended to be so by Paris. Unless stated otherwise, all were given by Paris to his monastery (from some inscriptions it seems they were regarded as his property to dispose of). The monastic libraries were broken up at the Dissolution. These MSS seem to have been appreciated, and were quickly collected by bibliophiles. Many of his manuscripts in the British Library are from the Cotton Library.
Chronica Majora. Corpus Christi College, Cambridge, Mss 26 and 16, 362 x 244/248 mm. ff 141 + 281, composed 1240–53. His major historical work (see below), but less heavily illustrated per page than others. These two volumes contain annals from the creation of the world up to the year 1253. The content up to 1234 or 1235 is based in the main on Roger of Wendover's Flores Historiarum, with additions; after that date the material is Paris' own, and written in his own hand from the annal for 1213 onward. There are 100 marginal drawings (25 + 75), some fragmentary maps and an itinerary, and full-page drawings of William I. MS 16 has very recently had all prefatory matter re-bound separately.
A continuation of the Chronica, from 1254 until Paris' death in 1259, is bound with the Historia Anglorum in the British Library volume below. An unillustrated copy of the material from 1189 to 1250, with much of his sharper commentary about Henry III toned down or removed, was supervised by Paris himself and now exists as British Library Cotton MS Nero D V, fol. 162–393.
Flores Historiarum. Chetham's Hospital and Library, Manchester, MS 6712. Only part of the text, covering 1241 to 1249, is in Paris' hand, though he is credited with the authorship of the whole text, which is an abridgement of the Chronica with additions from the annals of Reading and of Southwark. Additional interpolations to the text make it clear the volume was created for Westminster Abbey. It was apparently started there, copying another MS of Paris' text that went up to 1240. Later it was sent back to the author for him to update; Vaughan argues this was in 1251-2. The illustrations are similar to Paris' style but not by him. Later additions took the chronicle up to 1327.
Historia Anglorum. British Library, Royal MS 14 C VII, fols. 8v–156v. 358 x 250 mm, ff 232 in all. A history of England, begun in 1250 and perhaps completed around 1255, covering the years 1070–1253. The text is an abridgement of the Chronica, also drawing on Wendover's Flores Historiarum and Paris' earlier edited version of the Chronica. Bound with it is the final part of Paris' Chronica Majora, covering the years 1254–1259 (folios 157–218), and prefatory material including an itinerary from London to Jerusalem and tinted drawings of the kings of England. All is in Paris' own hand, apart from folios 210–218 and 154v-156v, which are in a hand of the scribe who has added a note of Matthew Paris' death (f. 218v). The Chronica concludes with a portrait of Paris on his death-bed, presumably not by him. By the 15th century this volume belonged to Humphrey, Duke of Gloucester, son of Henry IV, who inscribed it "Ceste livre est a moy Homffrey Duc de Gloucestre". Later it was held by the bishop of Lincoln, who wrote a note that if the monks of St Albans could prove the book was a loan, they should have it back. Otherwise it was bequeathed to New College, Oxford. The fact that the book was acquired by a 16th-century Earl of Arundel suggests that Duke Humphrey's inscription was not entirely accurate, as New College would probably not have disposed of it.
Abbreviatio chronicorum (or Historia minor), British Library Cotton MS Claudius D VI, fols. 5–100. Another shortened history, mainly covering 1067 to 1253. Probably begun circa 1255, it remained unfinished at Paris' death. Illustrated with thirty-three seated figures of English kings illustrating a genealogy. It also contains the most developed of Paris' four maps of Great Britain.
Chronica excerpta a magnis cronicis. British Library Cotton MS Vitellius A XX, folios 77r–108v. Covers from 1066 to 1246. Written at some point between 1246 and 1259. Not definitely by Paris, but evidently written under his supervision, with some of the text in his own hand.
Book of Additions (Liber additamentorum) British Library Cotton MS Nero D I, ff202 in all, contains maps, Vitae duorum Offarum (illustrated), Gesta abbatum, the lives of the first 23 abbots of St Albans with a miniature portrait of each, coats of arms, as well as copies of original documents. A version of his well-known drawing of an elephant is in this volume, as is a large drawing of Christ, not by Paris.
Life of St Alban etc., dating controversial (1230–1250), Trinity College, Dublin Library, Ms 177 (former Ms E.I.40) 77 ff with 54 miniatures, mostly half-page. 240 x 165 mm. Also contains a Life of St Amphibalus, and various other works relating to the history of St Albans Abbey, both also illustrated. The Life of St Alban is in French verse, adapted from a Latin Life of St Alban by William of St Albans, ca. 1178. The manuscript also contains notes in Paris' hand (see above) showing that his manuscripts were lent to various aristocratic ladies for periods, and that he probably acted as an intermediary between commissioners of manuscripts and the (probably) lay artists who produced them, advising on the calendars and iconography.
Life of King Edward the Confessor 1230s or 40s, Cambridge University Library MS. Ee.3.59. This is the only surviving copy of this work, but is believed to be a slightly later copy made in London, probably by court artists, of Paris' text and framed illustrations. Based on the Latin Life of Edward the Confessor by Aelred of Rievaulx, c. 1162.
Life of St Thomas of Canterbury, British Library, Loan MS 88 – Four leaves (the "Becket Leaves") survive from a French-verse history of the life of Thomas Becket with large illuminations. Based on the Latin Quadrilogus compiled by Elias of Evesham at Crowland Abbey in 1198. The illuminations are attributed to Paris by Janet Backhouse, but not by Nigel Morgan. Vaughan had previously noted that the leaves from the Life of St Thomas and the Life of King Edward are of different sizes, and written by different scribes, neither of them Paris himself, so they are not likely to be part of the manuscript that Paris wrote of having lent to the Countess of Arundel; but that, "to judge from the script and the style of illumination" they are "very close copies of Matthew [Paris]'s original".
Life of St Edmund, a French-verse history of the life of Edmund Rich, Archbishop of Canterbury from 1233 to 1240. Based on Paris' own Latin prose life of Rich, composed in the late 1240s, which drew on a collection of materials made at Pontigny, statements from Robert Bacon and Richard Wych, Bishop of Chichester, and other materials including from Paris' own histories. A 14th-century copy of the prose life has survived in British Library Cotton MS Julius D VI, folios 123–156v. One copy of the verse life that was in Cotton MS Vitellius D VIII was destroyed in the fire of 1731; but another copy was discovered in the early 1900s at Welbeck Abbey and is now in the British Library.
Liber Experimentarius of Bernardus Silvestris, and other fortune-telling tracts. Bodleian Library, Oxford, Ms. Ashmole 304, 176 x 128 mm, ff72. Many illustrations: author portraits (many of ancient Greeks – Socrates, Plato, Euclid, Pythagoras), birds, tables and diagrams of geomantic significance. Several later copies of the text and illustrations survive. Provenance before 1602 unknown.
Miscellaneous writings by John of Wallingford (the Younger), British Library, MS Cotton Julius D VII, 188 × 130 mm, ff. 134. 1247–58. Mostly scribed by John of Wallingford, another monk of St Albans, who also probably did some drawings. A portrait of John, a map of the British Isles, and a Christ in Majesty are all accepted as by Paris. The main text is a chronicle, highly derivative of Paris's. This was John's property, left to his final monastery at Wymondham.
Also, fragments of a Latin biography of Stephen Langton. Various other works, especially maps.
A panel painting on oak of St Peter, the only surviving part of a tabernacle shrine (1850 x 750 mm), in the Museum of Oslo University has been attributed to Paris, presumably dating from his visit in 1248. Local paintings are usually on pine, so he may have brought this with him, or sent it later.
Paris as an artist
In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" – unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century.
Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him.
Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I.
Paris as a historian
From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms.
The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica Majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer.
Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill.
Paris as cartographer
Outstanding among his other maps were (four versions of) a pilgrim itinerary charting the route from London to Rome in graphic form. A sequence of pictures of towns on the route marked the terminus of each day's travel, enabling the viewer to envisage and follow the whole journey rather like a comic strip – an achievement unprecedented elsewhere in the medieval world.
Studies of Matthew Paris
The relation of Matthew Paris's work to those of John de Celia (John of Wallingford) and Roger of Wendover may be studied in Henry Richards Luard's edition of the Chronica Majora (7 vols., Rolls series, 1872–1881), which contains valuable prefaces. The Historia Anglorum sive historia minor (1067–1253) has been edited by Frederic Madden (3 vols., Rolls series, 1866–1869).
Matthew Paris is sometimes confused with Matthew of Westminster, the reputed author of the Flores historiarum edited by Luard (3 vols., Rolls series, 1890). This work, compiled by various hands, is an edition of Matthew Paris, with continuations extending to 1326.
He wrote a life of St Edmund of Abingdon, sometime Archbishop of Canterbury.
He also wrote the Anglo-Norman La Estoire de Seint Aedward le Rei (the History of Saint Edward the King), which survives in a beautifully illuminated manuscript version, Cambridge, Cambridge University Library MS. Ee.3.59. The manuscript has had a varied publication history. Sections were printed in Francisque Michel's Chroniques Anglo-Normandes. Luard's edition for the Rolls series was severely criticized; it was re-edited for the Anglo-Norman Text Society by K. Y. Wallace. A facsimile for the Roxburghe Club was edited by M. R. James, and the whole manuscript has been digitalized and can be seen online.
Paris House at St Albans High School for Girls is named after him.
Notes
Bibliography
(on manuscripts, and artistic style)
External links
Images
Stanford Digitized texts – Works by and about Paris, including Vaughan etc, in huge pdf files
JSTOR review of Vaughan book
Matthew Paris' Jerusalem pilgrim's travel guide: information, zoomable image British Library website
Art Bulletin article on his maps;Imagined Pilgrimage in the Itinerary Maps of Matthew Paris. 12/1/1999 by Connolly, Daniel K
Latin Chroniclers from the Eleventh to the Thirteenth Centuries:Matthew Paris from The Cambridge History of English and American Literature, Volume I, 1907–21.
Life of St Edward the Confessor, Cambridge Digital Library
Fully annotated copy of Matthew Paris's Claudius Map, with translations and transcriptions
1200 births
1259 deaths
Year of birth uncertain
People from St Albans
English Benedictines
English Christian monks
English chroniclers
English cartographers
English historians
Historians of the Catholic Church
Heraldists
Manuscript illuminators
Writers who illustrated their own writing
Medieval European scribes
People educated at St Albans School, Hertfordshire
Artist authors
Medieval English painters
13th-century Christian monks
13th-century painters
13th-century English artists
13th-century Latin writers
13th-century English writers
13th-century English people
13th-century historians
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[
"I Write What I Like (full name I Write What I Like: Selected Writings by Steve Biko) is a compilation of writings from anti-apartheid activist Steve Biko.\n\nI Write What I Like contains a selection of Biko's writings from 1969, when he became the president of the South African Student Organisation, to 1972, when he was prohibited from publishing. Originally published in 1978, the book was republished in 1987 and April 2002. The book's title was taken from the title under which he had published his writings in the SASO newsletter under the pseudonym Frank Talk.\n\nI Write What I Like reflects Biko's conviction that black people in South Africa could not be liberated until they united to break their chains of servitude, a key tenet of the Black Consciousness Movement that he helped found.\n\nThe collection was edited by Aelred Stubbs. The book includes a preface by Archbishop Desmond Tutu; an introduction by Malusi and Thoko Mpumlwana, who were both involved with Biko in the Black Consciousness Movement; a memoir of Biko by Father Aelred Stubbs, his longtime pastor and friend; and a new foreword by Professor Lewis Gordon.\n\nReferences\n\n1978 non-fiction books\n2002 non-fiction books\nBooks about apartheid\nPolitical books\nSouth African non-fiction books",
"This Type of Thinking (Could Do Us In) is the third studio album by American rock band Chevelle. Debuting at No. 8 on the Billboard 200 based on nearly 90,000 copies sold in its first week, it charted higher than its predecessor, Wonder What's Next but did not exceed its debut position. The album did not manage to match its predecessor's commercial success, but was certified platinum. This Type of Thinking follows generally the same heavy style as Wonder What's Next with popular singles like \"Vitamin R\" and \"The Clincher\". It would be the first of two records produced by Michael \"Elvis\" Baskette. This was also the final album featuring bassist Joe Loeffler, who departed from the band in 2005.\n\nBackground and recording\nComing off a highly successful major label debut, Chevelle finishing touring on December 17, 2003. They set out to write a follow-up album from scratch at the onset of the following year in what drummer Sam Loeffler described as a different approach to writing. He also noted how the band felt significant pressure from their label to not simply match but topple the platinum success of Wonder What's Next. In a 2004 interview, Loeffler described the process of approaching This Type of Thinking:\n\"We went home for Christmas and after New Year's we went into the studio and we said, 'All right, we have to write a whole record in basically four months.' We had no songs, so we had to write that whole record and we ended up taking five months. We wanted to go heavy, we wanted to do a lot of double-bass drum, kind of syncopated rhythms, and we wanted to basically write songs that we could bob our heads to. That was sort of where we started. We're a heavy melodic rock band, that's what we like to write, and that's what we like to play. And that's what we did.\"\n\nThis time around, Chevelle opted to produce their own album with the help of Michael \"Elvis\" Baskette. This Type of Thinking would continue the balance of melody and heaviness of its predecessor. And much like the final track on Wonder What's Next, \"Bend the Bracket\" would be recorded simply as an acoustic demo for its unpolished presentation.\n\nCritical reception\n\nAllMusic editor Johnny Loftus observes the album as \"...flatly mixed, lost in depression, and obsessed with rewriting \"Sober\" for a new generation of lank-haired misunderstoods.\"\n\nMelodic calls it \"...a real quality album that you will never get bored of.\", praising the songs \"The Clincher\", \"Vitamin R (Leading Us Along)\" and \"Another Know It All\".\n\nTrack listing\n\nPersonnel\nChevelle\n Pete Loeffler – guitar, vocals\n Joe Loeffler – bass, backing vocals\n Sam Loeffler – drums\n\nTechnical personnel\n Andy Wallace – mixing\n Ben Goldman – A&R\n Christian Lantry – photography\n Dave Holdredge – digital editing, drum programming, engineer\n Eddy Schreyer – mastering\n Farra Mathews – A&R\n Jef Moll – assistant\n Josh Wilbur – digital editing\n Katharina Fritsch – cover sculpture\n Kevin Dean – assistant\n Michael \"Elvis\" Baskette – engineer, producer\n Sean Evans – art direction\n Steve Sisco – assistant\n\nCharts\n\nCertifications\n\nReferences\n\n2004 albums\nAlbums produced by Michael Baskette\nChevelle (band) albums\nEpic Records albums"
] |
[
"Matthew Paris",
"Paris as a historian",
"what did Matthew Paris do as a historian?",
"Paris continued the history on the plan which his predecessors had followed.",
"what was the history that the predecessors had followed?",
"He derived much of his information from the letters of important people,",
"what did he write about?",
"from conversation with the eyewitnesses of events."
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C_90b59744f071414bb128d11a7e2d0661_0
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did he write about anybody important in history?
| 4 |
Did Matthew Paris write about anybody important in history?
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Matthew Paris
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From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms. The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer. Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill. CANNOTANSWER
|
Richard, Earl of Cornwall and King Henry III,
|
Matthew Paris, also known as Matthew of Paris (; c. 1200 – 1259), was an English Benedictine monk, chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". Some were written in Latin, some in Anglo-Norman or French verse.
His Chronica Majora is an oft-cited source, though modern historians recognise that Paris was not always reliable. He tended to glorify Holy Roman Emperor Frederick II and denigrate the Pope. However, in his Historia Anglorum, Paris displays a highly negative view of Frederick, going as far as to describe him as a "tyrant" who "committed disgraceful crimes".
Life and work
In spite of his surname and knowledge of the French language, Paris was of English birth, and is believed by some chroniclers to be of the Paris family of Hildersham, Cambridgeshire. He may have studied at Paris in his youth after early education at St Albans School. The first we know of Matthew Paris (from his own writings) is that he was admitted as a monk to St Albans in 1217. It is on the assumption that he was in his teens on admission that his birth date is estimated; some scholars suspect he may have been ten years or more older; many monks only entered monastic life after pursuing a career in the world outside. He was clearly at ease with the nobility and even royalty, which may indicate that he came from a family of some status, although it also seems an indication of his personality. His life was mainly spent in this religious house. In 1248, Paris was sent to Norway as the bearer of a message from Louis IX to Haakon IV; he made himself so agreeable to the Norwegian sovereign that he was invited to superintend the reformation of the Benedictine Nidarholm Abbey outside Trondheim.
Apart from these missions, his known activities were devoted to the composition of history, a pursuit for which the monks of St Albans had long been famous. After admission to the order in 1217, he inherited the mantle of Roger of Wendover, the abbey's official recorder of events, in 1236. Paris revised Roger's work, adding new material to cover his own tenure. This Chronica Majora is an important historical source document, especially for the period between 1235 and 1259. Equally interesting are the illustrations Paris created for his work.
The Dublin MS (see below) contains interesting notes, which shed light on Paris' involvement in other manuscripts, and on the way his own were used. They are in French and in his handwriting:
"If you please you can keep this book till Easter"
"G, please send to the Lady Countess of Arundel, Isabel, that she is to send you the book about St Thomas the Martyr and St Edward which I copied (translated?) and illustrated, and which the Lady Countess of Cornwall may keep until Whitsuntide"
some verses
"In the Countess of Winchester's book let there be a pair of images on each page thus": (verses follow describing thirteen saints)
It is presumed the last relates to Paris acting as commissioning agent and iconographical consultant for the Countess with another artist.
The lending of his manuscripts to aristocratic households, apparently for periods of weeks or months at a time, suggests why he made several different illustrated versions of his Chronicle.
Manuscripts by Matthew Paris
Paris' manuscripts mostly contain more than one text, and often begin with a rather random assortment of prefatory full-page miniatures. Some have survived incomplete, and the various elements now bound together may not have been intended to be so by Paris. Unless stated otherwise, all were given by Paris to his monastery (from some inscriptions it seems they were regarded as his property to dispose of). The monastic libraries were broken up at the Dissolution. These MSS seem to have been appreciated, and were quickly collected by bibliophiles. Many of his manuscripts in the British Library are from the Cotton Library.
Chronica Majora. Corpus Christi College, Cambridge, Mss 26 and 16, 362 x 244/248 mm. ff 141 + 281, composed 1240–53. His major historical work (see below), but less heavily illustrated per page than others. These two volumes contain annals from the creation of the world up to the year 1253. The content up to 1234 or 1235 is based in the main on Roger of Wendover's Flores Historiarum, with additions; after that date the material is Paris' own, and written in his own hand from the annal for 1213 onward. There are 100 marginal drawings (25 + 75), some fragmentary maps and an itinerary, and full-page drawings of William I. MS 16 has very recently had all prefatory matter re-bound separately.
A continuation of the Chronica, from 1254 until Paris' death in 1259, is bound with the Historia Anglorum in the British Library volume below. An unillustrated copy of the material from 1189 to 1250, with much of his sharper commentary about Henry III toned down or removed, was supervised by Paris himself and now exists as British Library Cotton MS Nero D V, fol. 162–393.
Flores Historiarum. Chetham's Hospital and Library, Manchester, MS 6712. Only part of the text, covering 1241 to 1249, is in Paris' hand, though he is credited with the authorship of the whole text, which is an abridgement of the Chronica with additions from the annals of Reading and of Southwark. Additional interpolations to the text make it clear the volume was created for Westminster Abbey. It was apparently started there, copying another MS of Paris' text that went up to 1240. Later it was sent back to the author for him to update; Vaughan argues this was in 1251-2. The illustrations are similar to Paris' style but not by him. Later additions took the chronicle up to 1327.
Historia Anglorum. British Library, Royal MS 14 C VII, fols. 8v–156v. 358 x 250 mm, ff 232 in all. A history of England, begun in 1250 and perhaps completed around 1255, covering the years 1070–1253. The text is an abridgement of the Chronica, also drawing on Wendover's Flores Historiarum and Paris' earlier edited version of the Chronica. Bound with it is the final part of Paris' Chronica Majora, covering the years 1254–1259 (folios 157–218), and prefatory material including an itinerary from London to Jerusalem and tinted drawings of the kings of England. All is in Paris' own hand, apart from folios 210–218 and 154v-156v, which are in a hand of the scribe who has added a note of Matthew Paris' death (f. 218v). The Chronica concludes with a portrait of Paris on his death-bed, presumably not by him. By the 15th century this volume belonged to Humphrey, Duke of Gloucester, son of Henry IV, who inscribed it "Ceste livre est a moy Homffrey Duc de Gloucestre". Later it was held by the bishop of Lincoln, who wrote a note that if the monks of St Albans could prove the book was a loan, they should have it back. Otherwise it was bequeathed to New College, Oxford. The fact that the book was acquired by a 16th-century Earl of Arundel suggests that Duke Humphrey's inscription was not entirely accurate, as New College would probably not have disposed of it.
Abbreviatio chronicorum (or Historia minor), British Library Cotton MS Claudius D VI, fols. 5–100. Another shortened history, mainly covering 1067 to 1253. Probably begun circa 1255, it remained unfinished at Paris' death. Illustrated with thirty-three seated figures of English kings illustrating a genealogy. It also contains the most developed of Paris' four maps of Great Britain.
Chronica excerpta a magnis cronicis. British Library Cotton MS Vitellius A XX, folios 77r–108v. Covers from 1066 to 1246. Written at some point between 1246 and 1259. Not definitely by Paris, but evidently written under his supervision, with some of the text in his own hand.
Book of Additions (Liber additamentorum) British Library Cotton MS Nero D I, ff202 in all, contains maps, Vitae duorum Offarum (illustrated), Gesta abbatum, the lives of the first 23 abbots of St Albans with a miniature portrait of each, coats of arms, as well as copies of original documents. A version of his well-known drawing of an elephant is in this volume, as is a large drawing of Christ, not by Paris.
Life of St Alban etc., dating controversial (1230–1250), Trinity College, Dublin Library, Ms 177 (former Ms E.I.40) 77 ff with 54 miniatures, mostly half-page. 240 x 165 mm. Also contains a Life of St Amphibalus, and various other works relating to the history of St Albans Abbey, both also illustrated. The Life of St Alban is in French verse, adapted from a Latin Life of St Alban by William of St Albans, ca. 1178. The manuscript also contains notes in Paris' hand (see above) showing that his manuscripts were lent to various aristocratic ladies for periods, and that he probably acted as an intermediary between commissioners of manuscripts and the (probably) lay artists who produced them, advising on the calendars and iconography.
Life of King Edward the Confessor 1230s or 40s, Cambridge University Library MS. Ee.3.59. This is the only surviving copy of this work, but is believed to be a slightly later copy made in London, probably by court artists, of Paris' text and framed illustrations. Based on the Latin Life of Edward the Confessor by Aelred of Rievaulx, c. 1162.
Life of St Thomas of Canterbury, British Library, Loan MS 88 – Four leaves (the "Becket Leaves") survive from a French-verse history of the life of Thomas Becket with large illuminations. Based on the Latin Quadrilogus compiled by Elias of Evesham at Crowland Abbey in 1198. The illuminations are attributed to Paris by Janet Backhouse, but not by Nigel Morgan. Vaughan had previously noted that the leaves from the Life of St Thomas and the Life of King Edward are of different sizes, and written by different scribes, neither of them Paris himself, so they are not likely to be part of the manuscript that Paris wrote of having lent to the Countess of Arundel; but that, "to judge from the script and the style of illumination" they are "very close copies of Matthew [Paris]'s original".
Life of St Edmund, a French-verse history of the life of Edmund Rich, Archbishop of Canterbury from 1233 to 1240. Based on Paris' own Latin prose life of Rich, composed in the late 1240s, which drew on a collection of materials made at Pontigny, statements from Robert Bacon and Richard Wych, Bishop of Chichester, and other materials including from Paris' own histories. A 14th-century copy of the prose life has survived in British Library Cotton MS Julius D VI, folios 123–156v. One copy of the verse life that was in Cotton MS Vitellius D VIII was destroyed in the fire of 1731; but another copy was discovered in the early 1900s at Welbeck Abbey and is now in the British Library.
Liber Experimentarius of Bernardus Silvestris, and other fortune-telling tracts. Bodleian Library, Oxford, Ms. Ashmole 304, 176 x 128 mm, ff72. Many illustrations: author portraits (many of ancient Greeks – Socrates, Plato, Euclid, Pythagoras), birds, tables and diagrams of geomantic significance. Several later copies of the text and illustrations survive. Provenance before 1602 unknown.
Miscellaneous writings by John of Wallingford (the Younger), British Library, MS Cotton Julius D VII, 188 × 130 mm, ff. 134. 1247–58. Mostly scribed by John of Wallingford, another monk of St Albans, who also probably did some drawings. A portrait of John, a map of the British Isles, and a Christ in Majesty are all accepted as by Paris. The main text is a chronicle, highly derivative of Paris's. This was John's property, left to his final monastery at Wymondham.
Also, fragments of a Latin biography of Stephen Langton. Various other works, especially maps.
A panel painting on oak of St Peter, the only surviving part of a tabernacle shrine (1850 x 750 mm), in the Museum of Oslo University has been attributed to Paris, presumably dating from his visit in 1248. Local paintings are usually on pine, so he may have brought this with him, or sent it later.
Paris as an artist
In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" – unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century.
Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him.
Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I.
Paris as a historian
From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms.
The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica Majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer.
Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill.
Paris as cartographer
Outstanding among his other maps were (four versions of) a pilgrim itinerary charting the route from London to Rome in graphic form. A sequence of pictures of towns on the route marked the terminus of each day's travel, enabling the viewer to envisage and follow the whole journey rather like a comic strip – an achievement unprecedented elsewhere in the medieval world.
Studies of Matthew Paris
The relation of Matthew Paris's work to those of John de Celia (John of Wallingford) and Roger of Wendover may be studied in Henry Richards Luard's edition of the Chronica Majora (7 vols., Rolls series, 1872–1881), which contains valuable prefaces. The Historia Anglorum sive historia minor (1067–1253) has been edited by Frederic Madden (3 vols., Rolls series, 1866–1869).
Matthew Paris is sometimes confused with Matthew of Westminster, the reputed author of the Flores historiarum edited by Luard (3 vols., Rolls series, 1890). This work, compiled by various hands, is an edition of Matthew Paris, with continuations extending to 1326.
He wrote a life of St Edmund of Abingdon, sometime Archbishop of Canterbury.
He also wrote the Anglo-Norman La Estoire de Seint Aedward le Rei (the History of Saint Edward the King), which survives in a beautifully illuminated manuscript version, Cambridge, Cambridge University Library MS. Ee.3.59. The manuscript has had a varied publication history. Sections were printed in Francisque Michel's Chroniques Anglo-Normandes. Luard's edition for the Rolls series was severely criticized; it was re-edited for the Anglo-Norman Text Society by K. Y. Wallace. A facsimile for the Roxburghe Club was edited by M. R. James, and the whole manuscript has been digitalized and can be seen online.
Paris House at St Albans High School for Girls is named after him.
Notes
Bibliography
(on manuscripts, and artistic style)
External links
Images
Stanford Digitized texts – Works by and about Paris, including Vaughan etc, in huge pdf files
JSTOR review of Vaughan book
Matthew Paris' Jerusalem pilgrim's travel guide: information, zoomable image British Library website
Art Bulletin article on his maps;Imagined Pilgrimage in the Itinerary Maps of Matthew Paris. 12/1/1999 by Connolly, Daniel K
Latin Chroniclers from the Eleventh to the Thirteenth Centuries:Matthew Paris from The Cambridge History of English and American Literature, Volume I, 1907–21.
Life of St Edward the Confessor, Cambridge Digital Library
Fully annotated copy of Matthew Paris's Claudius Map, with translations and transcriptions
1200 births
1259 deaths
Year of birth uncertain
People from St Albans
English Benedictines
English Christian monks
English chroniclers
English cartographers
English historians
Historians of the Catholic Church
Heraldists
Manuscript illuminators
Writers who illustrated their own writing
Medieval European scribes
People educated at St Albans School, Hertfordshire
Artist authors
Medieval English painters
13th-century Christian monks
13th-century painters
13th-century English artists
13th-century Latin writers
13th-century English writers
13th-century English people
13th-century historians
| true |
[
"\"Anybody (Movin' On)\" is a song recorded by German band Masterboy and was released in September 1995, as the second single from their fourth album, Generation of Love. It achieved success in several countries, particularly in Finland, where it peaked at number 8, and in Austria, Belgium and France, where it peaked within the top-20. The song was also a top-30 hit in Germany, Sweden and Switzerland. On the Eurochart Hot 100, it reached a respectable number 37. Outside Europe, it was a huge hit in Israel, peaking at number 5.\n\nCritical reception\nRoss Jones from The Guardian wrote, \"It's made in Germany, it's got a bouncy bassline, you can virtually smell the dry ice whooshing over its keyboards, and it asks you to \"Shake your body to the groove\" in a steely voice.\" Music Week rated the song three out of five, adding, \"German house-poppers Masterboy hope to repeat their European successes in the Uk with this slice of infectious dancefloor fodder, though the Europop bubble does seem to have burst.\"\n\nMusic video\nThe music video for \"Anybody (Movin' On)\" was directed by German film director Gregor Schnitzler.\n\nTrack listings\n CD maxi \n \"Anybody (Movin' On)\" (Friends Radio Edit) - 3:52\n \"Anybody (Movin' On)\" (Midnight Radio Edit) - 3:25\n \"Anybody (Movin' On)\" (Friends Mix) - 6:35\n \"Anybody (Movin' On)\" (Midnight Mix) - 5:30\n \"Anybody (Movin' On)\" (Midnight Mix-Rapless Version) - 5:30\n \"Anybody (Movin' On)\" (Instrumental) - 6:35\n\t\t\t\t\n CD maxi - Remixes\n \"Anybody (Movin' On)\" (Felix J. Gauder Radio RMX) - 4:07\n \"Anybody (Movin' On)\" (Felix J. Gauder Radio Rapless RMX) - 3:49\n \"Anybody (Movin' On)\" (Felix J. Gauder RMX) - 6:23\n \"Anybody (Movin' On)\" (La Casa Di Tokapi RMX) - 5:26\n \"Anybody (Movin' On)\" (Felix J. Gauder Rapless RMX) - 5:53\n \"Anybody (Movin' On)\" (Tokapi's Club Dub) - 5:20\n \"Anybody (Movin' On)\" (Neon Rave RMX)\t- 5:08\n\nCharts\n\nReferences\n\n1996 singles\n1996 songs\nMasterboy songs\nPolydor Records singles",
"The Glory of the Duchy of Carniola (, ) is an encyclopedia published in Nuremberg in 1689 by the polymath Johann Weikhard von Valvasor. It is the most important work on his homeland, the Duchy of Carniola, the present-day central part of Slovenia.\n\nContent\nWritten in New High German, the anthology was published in four volumes, subdivided into 15 books with 3,552 large-format pages and 24 annexes. It was lavishly illustrated with 528 copperplate engravings. The work refers to history, geography, topography, medicine, biology, geology, theology, customs and folklore of the Carniolan region that makes up a large part of present-day Slovenia. Valvasor could rely on older accounts, nevertheless the meticulously researched and scientifically sound collection was pioneering at that time. From 2009 until 2012, it was translated into Slovene by Doris, Primož and Božidar Debenjak. The initiator, project manager, editor and technical editor of this publishing project was Tomaž Čeč. \n\nValvasor was the first to write about the olm. He intended to write a kind of travelogue than a dictionary and therefore the entries are not arranged in alphabetical order. The author also sprinkles anecdotes, fairytales and poems to diversify the composition. Concerned that outsiders did not know his region well enough, he undertook the presentation of Carniola in words and pictures, installing a copperplate workshop at his Bogenšperk Castle near Litija and publishing collections of his work.\n\nReferences\n\nExternal links\n\n RTVSLO, 2012/04/ Družinske zgodbe: Družina Debenjak - conversation with the translators of the work to Slovene. \n Volumes 1–4 online at the Wolfenbüttel Digital Library (WDB)\n\n1689 books\nCarniolan culture\nHistory of Carniola\nNatural history of Slovenia\nGerman encyclopedias\nGerman-language books\nHistory of science and technology in Slovenia\nHistory books about Slovenia\nSlovenian encyclopedias\n17th-century encyclopedias\n17th century in Carniola"
] |
[
"Matthew Paris",
"Paris as a historian",
"what did Matthew Paris do as a historian?",
"Paris continued the history on the plan which his predecessors had followed.",
"what was the history that the predecessors had followed?",
"He derived much of his information from the letters of important people,",
"what did he write about?",
"from conversation with the eyewitnesses of events.",
"did he write about anybody important in history?",
"Richard, Earl of Cornwall and King Henry III,"
] |
C_90b59744f071414bb128d11a7e2d0661_0
|
Did he receive letters from the people he wrote about?
| 5 |
Did Matthew Paris receive letters from the people he wrote about?
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Matthew Paris
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From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms. The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer. Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill. CANNOTANSWER
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He derived much of his information from the letters of important people,
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Matthew Paris, also known as Matthew of Paris (; c. 1200 – 1259), was an English Benedictine monk, chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". Some were written in Latin, some in Anglo-Norman or French verse.
His Chronica Majora is an oft-cited source, though modern historians recognise that Paris was not always reliable. He tended to glorify Holy Roman Emperor Frederick II and denigrate the Pope. However, in his Historia Anglorum, Paris displays a highly negative view of Frederick, going as far as to describe him as a "tyrant" who "committed disgraceful crimes".
Life and work
In spite of his surname and knowledge of the French language, Paris was of English birth, and is believed by some chroniclers to be of the Paris family of Hildersham, Cambridgeshire. He may have studied at Paris in his youth after early education at St Albans School. The first we know of Matthew Paris (from his own writings) is that he was admitted as a monk to St Albans in 1217. It is on the assumption that he was in his teens on admission that his birth date is estimated; some scholars suspect he may have been ten years or more older; many monks only entered monastic life after pursuing a career in the world outside. He was clearly at ease with the nobility and even royalty, which may indicate that he came from a family of some status, although it also seems an indication of his personality. His life was mainly spent in this religious house. In 1248, Paris was sent to Norway as the bearer of a message from Louis IX to Haakon IV; he made himself so agreeable to the Norwegian sovereign that he was invited to superintend the reformation of the Benedictine Nidarholm Abbey outside Trondheim.
Apart from these missions, his known activities were devoted to the composition of history, a pursuit for which the monks of St Albans had long been famous. After admission to the order in 1217, he inherited the mantle of Roger of Wendover, the abbey's official recorder of events, in 1236. Paris revised Roger's work, adding new material to cover his own tenure. This Chronica Majora is an important historical source document, especially for the period between 1235 and 1259. Equally interesting are the illustrations Paris created for his work.
The Dublin MS (see below) contains interesting notes, which shed light on Paris' involvement in other manuscripts, and on the way his own were used. They are in French and in his handwriting:
"If you please you can keep this book till Easter"
"G, please send to the Lady Countess of Arundel, Isabel, that she is to send you the book about St Thomas the Martyr and St Edward which I copied (translated?) and illustrated, and which the Lady Countess of Cornwall may keep until Whitsuntide"
some verses
"In the Countess of Winchester's book let there be a pair of images on each page thus": (verses follow describing thirteen saints)
It is presumed the last relates to Paris acting as commissioning agent and iconographical consultant for the Countess with another artist.
The lending of his manuscripts to aristocratic households, apparently for periods of weeks or months at a time, suggests why he made several different illustrated versions of his Chronicle.
Manuscripts by Matthew Paris
Paris' manuscripts mostly contain more than one text, and often begin with a rather random assortment of prefatory full-page miniatures. Some have survived incomplete, and the various elements now bound together may not have been intended to be so by Paris. Unless stated otherwise, all were given by Paris to his monastery (from some inscriptions it seems they were regarded as his property to dispose of). The monastic libraries were broken up at the Dissolution. These MSS seem to have been appreciated, and were quickly collected by bibliophiles. Many of his manuscripts in the British Library are from the Cotton Library.
Chronica Majora. Corpus Christi College, Cambridge, Mss 26 and 16, 362 x 244/248 mm. ff 141 + 281, composed 1240–53. His major historical work (see below), but less heavily illustrated per page than others. These two volumes contain annals from the creation of the world up to the year 1253. The content up to 1234 or 1235 is based in the main on Roger of Wendover's Flores Historiarum, with additions; after that date the material is Paris' own, and written in his own hand from the annal for 1213 onward. There are 100 marginal drawings (25 + 75), some fragmentary maps and an itinerary, and full-page drawings of William I. MS 16 has very recently had all prefatory matter re-bound separately.
A continuation of the Chronica, from 1254 until Paris' death in 1259, is bound with the Historia Anglorum in the British Library volume below. An unillustrated copy of the material from 1189 to 1250, with much of his sharper commentary about Henry III toned down or removed, was supervised by Paris himself and now exists as British Library Cotton MS Nero D V, fol. 162–393.
Flores Historiarum. Chetham's Hospital and Library, Manchester, MS 6712. Only part of the text, covering 1241 to 1249, is in Paris' hand, though he is credited with the authorship of the whole text, which is an abridgement of the Chronica with additions from the annals of Reading and of Southwark. Additional interpolations to the text make it clear the volume was created for Westminster Abbey. It was apparently started there, copying another MS of Paris' text that went up to 1240. Later it was sent back to the author for him to update; Vaughan argues this was in 1251-2. The illustrations are similar to Paris' style but not by him. Later additions took the chronicle up to 1327.
Historia Anglorum. British Library, Royal MS 14 C VII, fols. 8v–156v. 358 x 250 mm, ff 232 in all. A history of England, begun in 1250 and perhaps completed around 1255, covering the years 1070–1253. The text is an abridgement of the Chronica, also drawing on Wendover's Flores Historiarum and Paris' earlier edited version of the Chronica. Bound with it is the final part of Paris' Chronica Majora, covering the years 1254–1259 (folios 157–218), and prefatory material including an itinerary from London to Jerusalem and tinted drawings of the kings of England. All is in Paris' own hand, apart from folios 210–218 and 154v-156v, which are in a hand of the scribe who has added a note of Matthew Paris' death (f. 218v). The Chronica concludes with a portrait of Paris on his death-bed, presumably not by him. By the 15th century this volume belonged to Humphrey, Duke of Gloucester, son of Henry IV, who inscribed it "Ceste livre est a moy Homffrey Duc de Gloucestre". Later it was held by the bishop of Lincoln, who wrote a note that if the monks of St Albans could prove the book was a loan, they should have it back. Otherwise it was bequeathed to New College, Oxford. The fact that the book was acquired by a 16th-century Earl of Arundel suggests that Duke Humphrey's inscription was not entirely accurate, as New College would probably not have disposed of it.
Abbreviatio chronicorum (or Historia minor), British Library Cotton MS Claudius D VI, fols. 5–100. Another shortened history, mainly covering 1067 to 1253. Probably begun circa 1255, it remained unfinished at Paris' death. Illustrated with thirty-three seated figures of English kings illustrating a genealogy. It also contains the most developed of Paris' four maps of Great Britain.
Chronica excerpta a magnis cronicis. British Library Cotton MS Vitellius A XX, folios 77r–108v. Covers from 1066 to 1246. Written at some point between 1246 and 1259. Not definitely by Paris, but evidently written under his supervision, with some of the text in his own hand.
Book of Additions (Liber additamentorum) British Library Cotton MS Nero D I, ff202 in all, contains maps, Vitae duorum Offarum (illustrated), Gesta abbatum, the lives of the first 23 abbots of St Albans with a miniature portrait of each, coats of arms, as well as copies of original documents. A version of his well-known drawing of an elephant is in this volume, as is a large drawing of Christ, not by Paris.
Life of St Alban etc., dating controversial (1230–1250), Trinity College, Dublin Library, Ms 177 (former Ms E.I.40) 77 ff with 54 miniatures, mostly half-page. 240 x 165 mm. Also contains a Life of St Amphibalus, and various other works relating to the history of St Albans Abbey, both also illustrated. The Life of St Alban is in French verse, adapted from a Latin Life of St Alban by William of St Albans, ca. 1178. The manuscript also contains notes in Paris' hand (see above) showing that his manuscripts were lent to various aristocratic ladies for periods, and that he probably acted as an intermediary between commissioners of manuscripts and the (probably) lay artists who produced them, advising on the calendars and iconography.
Life of King Edward the Confessor 1230s or 40s, Cambridge University Library MS. Ee.3.59. This is the only surviving copy of this work, but is believed to be a slightly later copy made in London, probably by court artists, of Paris' text and framed illustrations. Based on the Latin Life of Edward the Confessor by Aelred of Rievaulx, c. 1162.
Life of St Thomas of Canterbury, British Library, Loan MS 88 – Four leaves (the "Becket Leaves") survive from a French-verse history of the life of Thomas Becket with large illuminations. Based on the Latin Quadrilogus compiled by Elias of Evesham at Crowland Abbey in 1198. The illuminations are attributed to Paris by Janet Backhouse, but not by Nigel Morgan. Vaughan had previously noted that the leaves from the Life of St Thomas and the Life of King Edward are of different sizes, and written by different scribes, neither of them Paris himself, so they are not likely to be part of the manuscript that Paris wrote of having lent to the Countess of Arundel; but that, "to judge from the script and the style of illumination" they are "very close copies of Matthew [Paris]'s original".
Life of St Edmund, a French-verse history of the life of Edmund Rich, Archbishop of Canterbury from 1233 to 1240. Based on Paris' own Latin prose life of Rich, composed in the late 1240s, which drew on a collection of materials made at Pontigny, statements from Robert Bacon and Richard Wych, Bishop of Chichester, and other materials including from Paris' own histories. A 14th-century copy of the prose life has survived in British Library Cotton MS Julius D VI, folios 123–156v. One copy of the verse life that was in Cotton MS Vitellius D VIII was destroyed in the fire of 1731; but another copy was discovered in the early 1900s at Welbeck Abbey and is now in the British Library.
Liber Experimentarius of Bernardus Silvestris, and other fortune-telling tracts. Bodleian Library, Oxford, Ms. Ashmole 304, 176 x 128 mm, ff72. Many illustrations: author portraits (many of ancient Greeks – Socrates, Plato, Euclid, Pythagoras), birds, tables and diagrams of geomantic significance. Several later copies of the text and illustrations survive. Provenance before 1602 unknown.
Miscellaneous writings by John of Wallingford (the Younger), British Library, MS Cotton Julius D VII, 188 × 130 mm, ff. 134. 1247–58. Mostly scribed by John of Wallingford, another monk of St Albans, who also probably did some drawings. A portrait of John, a map of the British Isles, and a Christ in Majesty are all accepted as by Paris. The main text is a chronicle, highly derivative of Paris's. This was John's property, left to his final monastery at Wymondham.
Also, fragments of a Latin biography of Stephen Langton. Various other works, especially maps.
A panel painting on oak of St Peter, the only surviving part of a tabernacle shrine (1850 x 750 mm), in the Museum of Oslo University has been attributed to Paris, presumably dating from his visit in 1248. Local paintings are usually on pine, so he may have brought this with him, or sent it later.
Paris as an artist
In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" – unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century.
Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him.
Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I.
Paris as a historian
From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms.
The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica Majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer.
Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill.
Paris as cartographer
Outstanding among his other maps were (four versions of) a pilgrim itinerary charting the route from London to Rome in graphic form. A sequence of pictures of towns on the route marked the terminus of each day's travel, enabling the viewer to envisage and follow the whole journey rather like a comic strip – an achievement unprecedented elsewhere in the medieval world.
Studies of Matthew Paris
The relation of Matthew Paris's work to those of John de Celia (John of Wallingford) and Roger of Wendover may be studied in Henry Richards Luard's edition of the Chronica Majora (7 vols., Rolls series, 1872–1881), which contains valuable prefaces. The Historia Anglorum sive historia minor (1067–1253) has been edited by Frederic Madden (3 vols., Rolls series, 1866–1869).
Matthew Paris is sometimes confused with Matthew of Westminster, the reputed author of the Flores historiarum edited by Luard (3 vols., Rolls series, 1890). This work, compiled by various hands, is an edition of Matthew Paris, with continuations extending to 1326.
He wrote a life of St Edmund of Abingdon, sometime Archbishop of Canterbury.
He also wrote the Anglo-Norman La Estoire de Seint Aedward le Rei (the History of Saint Edward the King), which survives in a beautifully illuminated manuscript version, Cambridge, Cambridge University Library MS. Ee.3.59. The manuscript has had a varied publication history. Sections were printed in Francisque Michel's Chroniques Anglo-Normandes. Luard's edition for the Rolls series was severely criticized; it was re-edited for the Anglo-Norman Text Society by K. Y. Wallace. A facsimile for the Roxburghe Club was edited by M. R. James, and the whole manuscript has been digitalized and can be seen online.
Paris House at St Albans High School for Girls is named after him.
Notes
Bibliography
(on manuscripts, and artistic style)
External links
Images
Stanford Digitized texts – Works by and about Paris, including Vaughan etc, in huge pdf files
JSTOR review of Vaughan book
Matthew Paris' Jerusalem pilgrim's travel guide: information, zoomable image British Library website
Art Bulletin article on his maps;Imagined Pilgrimage in the Itinerary Maps of Matthew Paris. 12/1/1999 by Connolly, Daniel K
Latin Chroniclers from the Eleventh to the Thirteenth Centuries:Matthew Paris from The Cambridge History of English and American Literature, Volume I, 1907–21.
Life of St Edward the Confessor, Cambridge Digital Library
Fully annotated copy of Matthew Paris's Claudius Map, with translations and transcriptions
1200 births
1259 deaths
Year of birth uncertain
People from St Albans
English Benedictines
English Christian monks
English chroniclers
English cartographers
English historians
Historians of the Catholic Church
Heraldists
Manuscript illuminators
Writers who illustrated their own writing
Medieval European scribes
People educated at St Albans School, Hertfordshire
Artist authors
Medieval English painters
13th-century Christian monks
13th-century painters
13th-century English artists
13th-century Latin writers
13th-century English writers
13th-century English people
13th-century historians
| true |
[
"Letters from Hawaii is a collection of 25 letters that Mark Twain wrote from Hawaii in 1866 as a special correspondent for the Sacramento Union newspaper. The 25 letters, written during Twain's four-month visit, were not published as a book until 1947.\n\nDuring his four-month and a day stay in the Hawaiian Islands, then called the Sandwich Islands, Twain visited the islands of Oahu, Maui, and Hawaii.\n\nOahu\nMark Twain arrives in Oahu under the reign of Kamehameha IV and wrote Letters 1-17. He climbed Diamond Head, visited the newly formed Kingdom of Hawaii legislature, etc.\n\nMaui\nMark Twain visited Haleakala, Maui, but left no letter on his itinerary of his Maui visit, except some statistics of sugar production in Maui (Letter 23).\n\nHawaii\nIn Letters 18 to 25, Mark Twain writes about his visits to Kailua Kona, Kealakekua Bay, and Kilauea.\n\nReferences\n\nExternal links\n Mark Twain Letters from Hawaii Study Guide \n The text of Letters from Hawaii\n\nBooks by Mark Twain\nAmerican travel books\nHawaiian Kingdom\n1947 non-fiction books\nBooks about Hawaii\nCollections of letters\nBooks published posthumously",
"Mapinius (also spelled Mappinius, Mappinus or Mapinus) was the bishop of Reims from 535 until 550. His name is of Gaulish origin.\n\nMapinius did not attend the Fifth Council of Orléans in 549 in person, but he sent the archdeacon Protadius as his representative. Two letters he wrote are preserved in the collection known as the Epistulae Austrasicae. In the first, dated to between about 540 and 550 by the editors, Mapinius congratulates Bishop Vilicus of Metz on his seventieth birthday. He also praised him for not only pastoring sheep, but fattening bishops with his charm. This praise was, however, only prefatory to his true purpose, which was to inquire about the price of pigs around Reims. This may have been related to business or to the payment of taxes in kind (pigs) to the crown.\n\nIn the second letter, responding to a letter from Bishop Nicetius of Trier, Mapinius apologizes for being unable to attend the Council of Toul in 550. This latter is a valuable historical source for this council. Mapinius indicates that he was invited to the council through a letter from King Theudebald. When he wrote back demanding to know the purpose of the council, he learned that the king wished to overturn Nicetius' excommunication of certain Franks for incest. In his letter to Nicetius, he claimed not have received this information until too late, but some scholars reject this explanation. It may be that he simply did not wish to become involved or to make the journey. There may, however, have been a genuine breakdown in communication between the bishops, if Mapinius and Nicetius were indeed on the same side. Mapinius scolds Nicetius for not informing him directly of the council's purpose, and he asks about the guilt of the excommunicated parties and whether as a bishop he should receive them.\n\nNotes\n\nBibliography\n\n6th-century Frankish people\nBishops of Reims\nLatin letter writers"
] |
[
"Matthew Paris",
"Paris as a historian",
"what did Matthew Paris do as a historian?",
"Paris continued the history on the plan which his predecessors had followed.",
"what was the history that the predecessors had followed?",
"He derived much of his information from the letters of important people,",
"what did he write about?",
"from conversation with the eyewitnesses of events.",
"did he write about anybody important in history?",
"Richard, Earl of Cornwall and King Henry III,",
"Did he receive letters from the people he wrote about?",
"He derived much of his information from the letters of important people,"
] |
C_90b59744f071414bb128d11a7e2d0661_0
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Did he ever write about historical events?
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Did Matthew Paris ever write about historical events?
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Matthew Paris
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From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms. The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer. Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill. CANNOTANSWER
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Naturalists have praised his descriptions of the English wildlife of his time,
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Matthew Paris, also known as Matthew of Paris (; c. 1200 – 1259), was an English Benedictine monk, chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". Some were written in Latin, some in Anglo-Norman or French verse.
His Chronica Majora is an oft-cited source, though modern historians recognise that Paris was not always reliable. He tended to glorify Holy Roman Emperor Frederick II and denigrate the Pope. However, in his Historia Anglorum, Paris displays a highly negative view of Frederick, going as far as to describe him as a "tyrant" who "committed disgraceful crimes".
Life and work
In spite of his surname and knowledge of the French language, Paris was of English birth, and is believed by some chroniclers to be of the Paris family of Hildersham, Cambridgeshire. He may have studied at Paris in his youth after early education at St Albans School. The first we know of Matthew Paris (from his own writings) is that he was admitted as a monk to St Albans in 1217. It is on the assumption that he was in his teens on admission that his birth date is estimated; some scholars suspect he may have been ten years or more older; many monks only entered monastic life after pursuing a career in the world outside. He was clearly at ease with the nobility and even royalty, which may indicate that he came from a family of some status, although it also seems an indication of his personality. His life was mainly spent in this religious house. In 1248, Paris was sent to Norway as the bearer of a message from Louis IX to Haakon IV; he made himself so agreeable to the Norwegian sovereign that he was invited to superintend the reformation of the Benedictine Nidarholm Abbey outside Trondheim.
Apart from these missions, his known activities were devoted to the composition of history, a pursuit for which the monks of St Albans had long been famous. After admission to the order in 1217, he inherited the mantle of Roger of Wendover, the abbey's official recorder of events, in 1236. Paris revised Roger's work, adding new material to cover his own tenure. This Chronica Majora is an important historical source document, especially for the period between 1235 and 1259. Equally interesting are the illustrations Paris created for his work.
The Dublin MS (see below) contains interesting notes, which shed light on Paris' involvement in other manuscripts, and on the way his own were used. They are in French and in his handwriting:
"If you please you can keep this book till Easter"
"G, please send to the Lady Countess of Arundel, Isabel, that she is to send you the book about St Thomas the Martyr and St Edward which I copied (translated?) and illustrated, and which the Lady Countess of Cornwall may keep until Whitsuntide"
some verses
"In the Countess of Winchester's book let there be a pair of images on each page thus": (verses follow describing thirteen saints)
It is presumed the last relates to Paris acting as commissioning agent and iconographical consultant for the Countess with another artist.
The lending of his manuscripts to aristocratic households, apparently for periods of weeks or months at a time, suggests why he made several different illustrated versions of his Chronicle.
Manuscripts by Matthew Paris
Paris' manuscripts mostly contain more than one text, and often begin with a rather random assortment of prefatory full-page miniatures. Some have survived incomplete, and the various elements now bound together may not have been intended to be so by Paris. Unless stated otherwise, all were given by Paris to his monastery (from some inscriptions it seems they were regarded as his property to dispose of). The monastic libraries were broken up at the Dissolution. These MSS seem to have been appreciated, and were quickly collected by bibliophiles. Many of his manuscripts in the British Library are from the Cotton Library.
Chronica Majora. Corpus Christi College, Cambridge, Mss 26 and 16, 362 x 244/248 mm. ff 141 + 281, composed 1240–53. His major historical work (see below), but less heavily illustrated per page than others. These two volumes contain annals from the creation of the world up to the year 1253. The content up to 1234 or 1235 is based in the main on Roger of Wendover's Flores Historiarum, with additions; after that date the material is Paris' own, and written in his own hand from the annal for 1213 onward. There are 100 marginal drawings (25 + 75), some fragmentary maps and an itinerary, and full-page drawings of William I. MS 16 has very recently had all prefatory matter re-bound separately.
A continuation of the Chronica, from 1254 until Paris' death in 1259, is bound with the Historia Anglorum in the British Library volume below. An unillustrated copy of the material from 1189 to 1250, with much of his sharper commentary about Henry III toned down or removed, was supervised by Paris himself and now exists as British Library Cotton MS Nero D V, fol. 162–393.
Flores Historiarum. Chetham's Hospital and Library, Manchester, MS 6712. Only part of the text, covering 1241 to 1249, is in Paris' hand, though he is credited with the authorship of the whole text, which is an abridgement of the Chronica with additions from the annals of Reading and of Southwark. Additional interpolations to the text make it clear the volume was created for Westminster Abbey. It was apparently started there, copying another MS of Paris' text that went up to 1240. Later it was sent back to the author for him to update; Vaughan argues this was in 1251-2. The illustrations are similar to Paris' style but not by him. Later additions took the chronicle up to 1327.
Historia Anglorum. British Library, Royal MS 14 C VII, fols. 8v–156v. 358 x 250 mm, ff 232 in all. A history of England, begun in 1250 and perhaps completed around 1255, covering the years 1070–1253. The text is an abridgement of the Chronica, also drawing on Wendover's Flores Historiarum and Paris' earlier edited version of the Chronica. Bound with it is the final part of Paris' Chronica Majora, covering the years 1254–1259 (folios 157–218), and prefatory material including an itinerary from London to Jerusalem and tinted drawings of the kings of England. All is in Paris' own hand, apart from folios 210–218 and 154v-156v, which are in a hand of the scribe who has added a note of Matthew Paris' death (f. 218v). The Chronica concludes with a portrait of Paris on his death-bed, presumably not by him. By the 15th century this volume belonged to Humphrey, Duke of Gloucester, son of Henry IV, who inscribed it "Ceste livre est a moy Homffrey Duc de Gloucestre". Later it was held by the bishop of Lincoln, who wrote a note that if the monks of St Albans could prove the book was a loan, they should have it back. Otherwise it was bequeathed to New College, Oxford. The fact that the book was acquired by a 16th-century Earl of Arundel suggests that Duke Humphrey's inscription was not entirely accurate, as New College would probably not have disposed of it.
Abbreviatio chronicorum (or Historia minor), British Library Cotton MS Claudius D VI, fols. 5–100. Another shortened history, mainly covering 1067 to 1253. Probably begun circa 1255, it remained unfinished at Paris' death. Illustrated with thirty-three seated figures of English kings illustrating a genealogy. It also contains the most developed of Paris' four maps of Great Britain.
Chronica excerpta a magnis cronicis. British Library Cotton MS Vitellius A XX, folios 77r–108v. Covers from 1066 to 1246. Written at some point between 1246 and 1259. Not definitely by Paris, but evidently written under his supervision, with some of the text in his own hand.
Book of Additions (Liber additamentorum) British Library Cotton MS Nero D I, ff202 in all, contains maps, Vitae duorum Offarum (illustrated), Gesta abbatum, the lives of the first 23 abbots of St Albans with a miniature portrait of each, coats of arms, as well as copies of original documents. A version of his well-known drawing of an elephant is in this volume, as is a large drawing of Christ, not by Paris.
Life of St Alban etc., dating controversial (1230–1250), Trinity College, Dublin Library, Ms 177 (former Ms E.I.40) 77 ff with 54 miniatures, mostly half-page. 240 x 165 mm. Also contains a Life of St Amphibalus, and various other works relating to the history of St Albans Abbey, both also illustrated. The Life of St Alban is in French verse, adapted from a Latin Life of St Alban by William of St Albans, ca. 1178. The manuscript also contains notes in Paris' hand (see above) showing that his manuscripts were lent to various aristocratic ladies for periods, and that he probably acted as an intermediary between commissioners of manuscripts and the (probably) lay artists who produced them, advising on the calendars and iconography.
Life of King Edward the Confessor 1230s or 40s, Cambridge University Library MS. Ee.3.59. This is the only surviving copy of this work, but is believed to be a slightly later copy made in London, probably by court artists, of Paris' text and framed illustrations. Based on the Latin Life of Edward the Confessor by Aelred of Rievaulx, c. 1162.
Life of St Thomas of Canterbury, British Library, Loan MS 88 – Four leaves (the "Becket Leaves") survive from a French-verse history of the life of Thomas Becket with large illuminations. Based on the Latin Quadrilogus compiled by Elias of Evesham at Crowland Abbey in 1198. The illuminations are attributed to Paris by Janet Backhouse, but not by Nigel Morgan. Vaughan had previously noted that the leaves from the Life of St Thomas and the Life of King Edward are of different sizes, and written by different scribes, neither of them Paris himself, so they are not likely to be part of the manuscript that Paris wrote of having lent to the Countess of Arundel; but that, "to judge from the script and the style of illumination" they are "very close copies of Matthew [Paris]'s original".
Life of St Edmund, a French-verse history of the life of Edmund Rich, Archbishop of Canterbury from 1233 to 1240. Based on Paris' own Latin prose life of Rich, composed in the late 1240s, which drew on a collection of materials made at Pontigny, statements from Robert Bacon and Richard Wych, Bishop of Chichester, and other materials including from Paris' own histories. A 14th-century copy of the prose life has survived in British Library Cotton MS Julius D VI, folios 123–156v. One copy of the verse life that was in Cotton MS Vitellius D VIII was destroyed in the fire of 1731; but another copy was discovered in the early 1900s at Welbeck Abbey and is now in the British Library.
Liber Experimentarius of Bernardus Silvestris, and other fortune-telling tracts. Bodleian Library, Oxford, Ms. Ashmole 304, 176 x 128 mm, ff72. Many illustrations: author portraits (many of ancient Greeks – Socrates, Plato, Euclid, Pythagoras), birds, tables and diagrams of geomantic significance. Several later copies of the text and illustrations survive. Provenance before 1602 unknown.
Miscellaneous writings by John of Wallingford (the Younger), British Library, MS Cotton Julius D VII, 188 × 130 mm, ff. 134. 1247–58. Mostly scribed by John of Wallingford, another monk of St Albans, who also probably did some drawings. A portrait of John, a map of the British Isles, and a Christ in Majesty are all accepted as by Paris. The main text is a chronicle, highly derivative of Paris's. This was John's property, left to his final monastery at Wymondham.
Also, fragments of a Latin biography of Stephen Langton. Various other works, especially maps.
A panel painting on oak of St Peter, the only surviving part of a tabernacle shrine (1850 x 750 mm), in the Museum of Oslo University has been attributed to Paris, presumably dating from his visit in 1248. Local paintings are usually on pine, so he may have brought this with him, or sent it later.
Paris as an artist
In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" – unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century.
Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him.
Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I.
Paris as a historian
From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms.
The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica Majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer.
Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill.
Paris as cartographer
Outstanding among his other maps were (four versions of) a pilgrim itinerary charting the route from London to Rome in graphic form. A sequence of pictures of towns on the route marked the terminus of each day's travel, enabling the viewer to envisage and follow the whole journey rather like a comic strip – an achievement unprecedented elsewhere in the medieval world.
Studies of Matthew Paris
The relation of Matthew Paris's work to those of John de Celia (John of Wallingford) and Roger of Wendover may be studied in Henry Richards Luard's edition of the Chronica Majora (7 vols., Rolls series, 1872–1881), which contains valuable prefaces. The Historia Anglorum sive historia minor (1067–1253) has been edited by Frederic Madden (3 vols., Rolls series, 1866–1869).
Matthew Paris is sometimes confused with Matthew of Westminster, the reputed author of the Flores historiarum edited by Luard (3 vols., Rolls series, 1890). This work, compiled by various hands, is an edition of Matthew Paris, with continuations extending to 1326.
He wrote a life of St Edmund of Abingdon, sometime Archbishop of Canterbury.
He also wrote the Anglo-Norman La Estoire de Seint Aedward le Rei (the History of Saint Edward the King), which survives in a beautifully illuminated manuscript version, Cambridge, Cambridge University Library MS. Ee.3.59. The manuscript has had a varied publication history. Sections were printed in Francisque Michel's Chroniques Anglo-Normandes. Luard's edition for the Rolls series was severely criticized; it was re-edited for the Anglo-Norman Text Society by K. Y. Wallace. A facsimile for the Roxburghe Club was edited by M. R. James, and the whole manuscript has been digitalized and can be seen online.
Paris House at St Albans High School for Girls is named after him.
Notes
Bibliography
(on manuscripts, and artistic style)
External links
Images
Stanford Digitized texts – Works by and about Paris, including Vaughan etc, in huge pdf files
JSTOR review of Vaughan book
Matthew Paris' Jerusalem pilgrim's travel guide: information, zoomable image British Library website
Art Bulletin article on his maps;Imagined Pilgrimage in the Itinerary Maps of Matthew Paris. 12/1/1999 by Connolly, Daniel K
Latin Chroniclers from the Eleventh to the Thirteenth Centuries:Matthew Paris from The Cambridge History of English and American Literature, Volume I, 1907–21.
Life of St Edward the Confessor, Cambridge Digital Library
Fully annotated copy of Matthew Paris's Claudius Map, with translations and transcriptions
1200 births
1259 deaths
Year of birth uncertain
People from St Albans
English Benedictines
English Christian monks
English chroniclers
English cartographers
English historians
Historians of the Catholic Church
Heraldists
Manuscript illuminators
Writers who illustrated their own writing
Medieval European scribes
People educated at St Albans School, Hertfordshire
Artist authors
Medieval English painters
13th-century Christian monks
13th-century painters
13th-century English artists
13th-century Latin writers
13th-century English writers
13th-century English people
13th-century historians
| true |
[
"Lynn Austin is the American author of many Christian fiction novels and holds the record for most Christy Awards won: eight. One of her books, Hidden Places was turned into a Hallmark Channel movie. She and her husband have three children and live in Holland, Michigan.\n\nBackground\nAustin began her writing career as a reader. She did not like the feeling of hopelessness she was often left with and sought to write what she would want to read. \"I agree that life is hard--but God is good!\" With only a minor in English she sat down to write, and continued to write, while juggling in between raising her children and working part-time. Her family moved from Canada to Chicago, where she taught at Chicago Christian High School one year before beginning to write full-time and actively pursued getting published. It took eleven years from when she started writing to getting published.\n\nWriting philosophy\nAustin is known for writing books about strong women that don't need to be rescued by a hero. She responded to readers about this by stating, \"Although I don't consciously set out to create strong women, I'd like to think that the women in my stories find strength by trusting in God.\"\n\nShe says she never starts a story with a particular theme in mind, but rather starts by trying to tell a story and let the Christian message fall into place. The theme of the books may be different, but the central message she tries to get across in all her novels is \"that God loves us and He'll never forsake us no matter how difficult life becomes.\"\n\n\"I love to draw my inspiration from the lives of real people,\" she says. She does this by peppering her research of historic events with diaries, letters, and first-hand accounts of people who lived through these events and times. She also gets inspiration from listening to stories about and from modern people.\n\nPublished works\n\nSeries\n\nChronicles of the Kings\nGods and Kings (originally published The Lord Is My Strength) (1995)\nSong of Redemption (originally published The Lord Is My Song) (1996)\nThe Strength of His Hand (originally published The Lord Is My Salvation) (1996)\nFaith of My Fathers (originally published My Father's God) (1997)\nAmong the Gods (1998)\n\nRefiner's Fire \n\nCandle in the Darkness (2002) Christy Award winner\nFire By Night (2003) Christy Award winner\nA Light to My Path (2004)\n\nThe Restoration Chronicles \nReturn to Me (2013)\nKeepers of the covenant (2014)\nOn This Foundation (due out October 2015)\n\nStand alone novels \n\nFly Away (2017)\nEve's Daughters (1999)\nWings of Refuge (2000)\nHidden Places (2001) Christy Award winner\nAll She Ever Wanted (2005)\nA Woman's Place (2006)\nA Proper Pursuit (2007) Christy Award winner\nUntil We Reach Home (2008) Christy Award winner\nThough Waters Roar (2009) Christy Award winner\nWhile We're Far Apart (2010) Christy Award winner\nWonderland Creek (2011) Christy Award winner\nAll Things New (2012)\nWaves of Mercy (2016)\n\nWhere We Belong (2017)\n\nLegacy of Mercy (2018)\n\nNonfiction\nPilgrimage: My Journey to a Deeper Faith in the Land Where Jesus Walked (2013)\n\nReferences\n\nExternal links\nAuthor's website\nPublisher's website\nFantastic Fiction\nLibrary Thing\n\nLiving people\nAmerican women novelists\nAmerican romantic fiction writers\nChristian novelists\nSouthern Connecticut State University alumni\n1949 births\nAmerican historical novelists\nWriters of historical romances\n20th-century American novelists\n21st-century American novelists\nWomen romantic fiction writers\n20th-century American women writers\n21st-century American women writers\nWomen historical novelists",
"The Battle of Bhima Koregaon: An Unending Journey is a 2017 documentary by Indian filmmaker Somnath Waghmare. It explored the role of 500 Mahar dalit soldiers of the East India Company in the Battle of Koregaon on 1 January 1818 against Peshwa rulers. It talks about dalit assertion on 1 January taking place every year. The 50 minute documentary was released in April 2017.\n\nProduction\nFor producing this documentary, Somnath Waghamare used Crowdfunding as he was still a PhD student at Tata Institute of Social Sciences. His topic of M.Phil research was about caste and its portrayal in Marathi cinema.\n\nAwards\nThe documentary was screened in first ever Dalit Film and Cultural Festival at Columbia University, New York.\n\nSee also\nBattle of Koregaon\nThe Battle of Bhima Koregaon (film)\n\nReferences\n\n2017 films\nIndian documentary films\nFilms about the caste system in India\nDalit communities\nDalit history\nFilms about social issues in India\nDocumentaries about historical events\nDocumentary films about historical events\nDocumentary films about India"
] |
[
"Matthew Paris",
"Paris as a historian",
"what did Matthew Paris do as a historian?",
"Paris continued the history on the plan which his predecessors had followed.",
"what was the history that the predecessors had followed?",
"He derived much of his information from the letters of important people,",
"what did he write about?",
"from conversation with the eyewitnesses of events.",
"did he write about anybody important in history?",
"Richard, Earl of Cornwall and King Henry III,",
"Did he receive letters from the people he wrote about?",
"He derived much of his information from the letters of important people,",
"Did he ever write about historical events?",
"Naturalists have praised his descriptions of the English wildlife of his time,"
] |
C_90b59744f071414bb128d11a7e2d0661_0
|
Did he write about any other events or was it just the one?
| 7 |
Aside from the English wildlife, did Matthew Paris write about any other events?
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Matthew Paris
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From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms. The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer. Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill. CANNOTANSWER
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In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day,
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Matthew Paris, also known as Matthew of Paris (; c. 1200 – 1259), was an English Benedictine monk, chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". Some were written in Latin, some in Anglo-Norman or French verse.
His Chronica Majora is an oft-cited source, though modern historians recognise that Paris was not always reliable. He tended to glorify Holy Roman Emperor Frederick II and denigrate the Pope. However, in his Historia Anglorum, Paris displays a highly negative view of Frederick, going as far as to describe him as a "tyrant" who "committed disgraceful crimes".
Life and work
In spite of his surname and knowledge of the French language, Paris was of English birth, and is believed by some chroniclers to be of the Paris family of Hildersham, Cambridgeshire. He may have studied at Paris in his youth after early education at St Albans School. The first we know of Matthew Paris (from his own writings) is that he was admitted as a monk to St Albans in 1217. It is on the assumption that he was in his teens on admission that his birth date is estimated; some scholars suspect he may have been ten years or more older; many monks only entered monastic life after pursuing a career in the world outside. He was clearly at ease with the nobility and even royalty, which may indicate that he came from a family of some status, although it also seems an indication of his personality. His life was mainly spent in this religious house. In 1248, Paris was sent to Norway as the bearer of a message from Louis IX to Haakon IV; he made himself so agreeable to the Norwegian sovereign that he was invited to superintend the reformation of the Benedictine Nidarholm Abbey outside Trondheim.
Apart from these missions, his known activities were devoted to the composition of history, a pursuit for which the monks of St Albans had long been famous. After admission to the order in 1217, he inherited the mantle of Roger of Wendover, the abbey's official recorder of events, in 1236. Paris revised Roger's work, adding new material to cover his own tenure. This Chronica Majora is an important historical source document, especially for the period between 1235 and 1259. Equally interesting are the illustrations Paris created for his work.
The Dublin MS (see below) contains interesting notes, which shed light on Paris' involvement in other manuscripts, and on the way his own were used. They are in French and in his handwriting:
"If you please you can keep this book till Easter"
"G, please send to the Lady Countess of Arundel, Isabel, that she is to send you the book about St Thomas the Martyr and St Edward which I copied (translated?) and illustrated, and which the Lady Countess of Cornwall may keep until Whitsuntide"
some verses
"In the Countess of Winchester's book let there be a pair of images on each page thus": (verses follow describing thirteen saints)
It is presumed the last relates to Paris acting as commissioning agent and iconographical consultant for the Countess with another artist.
The lending of his manuscripts to aristocratic households, apparently for periods of weeks or months at a time, suggests why he made several different illustrated versions of his Chronicle.
Manuscripts by Matthew Paris
Paris' manuscripts mostly contain more than one text, and often begin with a rather random assortment of prefatory full-page miniatures. Some have survived incomplete, and the various elements now bound together may not have been intended to be so by Paris. Unless stated otherwise, all were given by Paris to his monastery (from some inscriptions it seems they were regarded as his property to dispose of). The monastic libraries were broken up at the Dissolution. These MSS seem to have been appreciated, and were quickly collected by bibliophiles. Many of his manuscripts in the British Library are from the Cotton Library.
Chronica Majora. Corpus Christi College, Cambridge, Mss 26 and 16, 362 x 244/248 mm. ff 141 + 281, composed 1240–53. His major historical work (see below), but less heavily illustrated per page than others. These two volumes contain annals from the creation of the world up to the year 1253. The content up to 1234 or 1235 is based in the main on Roger of Wendover's Flores Historiarum, with additions; after that date the material is Paris' own, and written in his own hand from the annal for 1213 onward. There are 100 marginal drawings (25 + 75), some fragmentary maps and an itinerary, and full-page drawings of William I. MS 16 has very recently had all prefatory matter re-bound separately.
A continuation of the Chronica, from 1254 until Paris' death in 1259, is bound with the Historia Anglorum in the British Library volume below. An unillustrated copy of the material from 1189 to 1250, with much of his sharper commentary about Henry III toned down or removed, was supervised by Paris himself and now exists as British Library Cotton MS Nero D V, fol. 162–393.
Flores Historiarum. Chetham's Hospital and Library, Manchester, MS 6712. Only part of the text, covering 1241 to 1249, is in Paris' hand, though he is credited with the authorship of the whole text, which is an abridgement of the Chronica with additions from the annals of Reading and of Southwark. Additional interpolations to the text make it clear the volume was created for Westminster Abbey. It was apparently started there, copying another MS of Paris' text that went up to 1240. Later it was sent back to the author for him to update; Vaughan argues this was in 1251-2. The illustrations are similar to Paris' style but not by him. Later additions took the chronicle up to 1327.
Historia Anglorum. British Library, Royal MS 14 C VII, fols. 8v–156v. 358 x 250 mm, ff 232 in all. A history of England, begun in 1250 and perhaps completed around 1255, covering the years 1070–1253. The text is an abridgement of the Chronica, also drawing on Wendover's Flores Historiarum and Paris' earlier edited version of the Chronica. Bound with it is the final part of Paris' Chronica Majora, covering the years 1254–1259 (folios 157–218), and prefatory material including an itinerary from London to Jerusalem and tinted drawings of the kings of England. All is in Paris' own hand, apart from folios 210–218 and 154v-156v, which are in a hand of the scribe who has added a note of Matthew Paris' death (f. 218v). The Chronica concludes with a portrait of Paris on his death-bed, presumably not by him. By the 15th century this volume belonged to Humphrey, Duke of Gloucester, son of Henry IV, who inscribed it "Ceste livre est a moy Homffrey Duc de Gloucestre". Later it was held by the bishop of Lincoln, who wrote a note that if the monks of St Albans could prove the book was a loan, they should have it back. Otherwise it was bequeathed to New College, Oxford. The fact that the book was acquired by a 16th-century Earl of Arundel suggests that Duke Humphrey's inscription was not entirely accurate, as New College would probably not have disposed of it.
Abbreviatio chronicorum (or Historia minor), British Library Cotton MS Claudius D VI, fols. 5–100. Another shortened history, mainly covering 1067 to 1253. Probably begun circa 1255, it remained unfinished at Paris' death. Illustrated with thirty-three seated figures of English kings illustrating a genealogy. It also contains the most developed of Paris' four maps of Great Britain.
Chronica excerpta a magnis cronicis. British Library Cotton MS Vitellius A XX, folios 77r–108v. Covers from 1066 to 1246. Written at some point between 1246 and 1259. Not definitely by Paris, but evidently written under his supervision, with some of the text in his own hand.
Book of Additions (Liber additamentorum) British Library Cotton MS Nero D I, ff202 in all, contains maps, Vitae duorum Offarum (illustrated), Gesta abbatum, the lives of the first 23 abbots of St Albans with a miniature portrait of each, coats of arms, as well as copies of original documents. A version of his well-known drawing of an elephant is in this volume, as is a large drawing of Christ, not by Paris.
Life of St Alban etc., dating controversial (1230–1250), Trinity College, Dublin Library, Ms 177 (former Ms E.I.40) 77 ff with 54 miniatures, mostly half-page. 240 x 165 mm. Also contains a Life of St Amphibalus, and various other works relating to the history of St Albans Abbey, both also illustrated. The Life of St Alban is in French verse, adapted from a Latin Life of St Alban by William of St Albans, ca. 1178. The manuscript also contains notes in Paris' hand (see above) showing that his manuscripts were lent to various aristocratic ladies for periods, and that he probably acted as an intermediary between commissioners of manuscripts and the (probably) lay artists who produced them, advising on the calendars and iconography.
Life of King Edward the Confessor 1230s or 40s, Cambridge University Library MS. Ee.3.59. This is the only surviving copy of this work, but is believed to be a slightly later copy made in London, probably by court artists, of Paris' text and framed illustrations. Based on the Latin Life of Edward the Confessor by Aelred of Rievaulx, c. 1162.
Life of St Thomas of Canterbury, British Library, Loan MS 88 – Four leaves (the "Becket Leaves") survive from a French-verse history of the life of Thomas Becket with large illuminations. Based on the Latin Quadrilogus compiled by Elias of Evesham at Crowland Abbey in 1198. The illuminations are attributed to Paris by Janet Backhouse, but not by Nigel Morgan. Vaughan had previously noted that the leaves from the Life of St Thomas and the Life of King Edward are of different sizes, and written by different scribes, neither of them Paris himself, so they are not likely to be part of the manuscript that Paris wrote of having lent to the Countess of Arundel; but that, "to judge from the script and the style of illumination" they are "very close copies of Matthew [Paris]'s original".
Life of St Edmund, a French-verse history of the life of Edmund Rich, Archbishop of Canterbury from 1233 to 1240. Based on Paris' own Latin prose life of Rich, composed in the late 1240s, which drew on a collection of materials made at Pontigny, statements from Robert Bacon and Richard Wych, Bishop of Chichester, and other materials including from Paris' own histories. A 14th-century copy of the prose life has survived in British Library Cotton MS Julius D VI, folios 123–156v. One copy of the verse life that was in Cotton MS Vitellius D VIII was destroyed in the fire of 1731; but another copy was discovered in the early 1900s at Welbeck Abbey and is now in the British Library.
Liber Experimentarius of Bernardus Silvestris, and other fortune-telling tracts. Bodleian Library, Oxford, Ms. Ashmole 304, 176 x 128 mm, ff72. Many illustrations: author portraits (many of ancient Greeks – Socrates, Plato, Euclid, Pythagoras), birds, tables and diagrams of geomantic significance. Several later copies of the text and illustrations survive. Provenance before 1602 unknown.
Miscellaneous writings by John of Wallingford (the Younger), British Library, MS Cotton Julius D VII, 188 × 130 mm, ff. 134. 1247–58. Mostly scribed by John of Wallingford, another monk of St Albans, who also probably did some drawings. A portrait of John, a map of the British Isles, and a Christ in Majesty are all accepted as by Paris. The main text is a chronicle, highly derivative of Paris's. This was John's property, left to his final monastery at Wymondham.
Also, fragments of a Latin biography of Stephen Langton. Various other works, especially maps.
A panel painting on oak of St Peter, the only surviving part of a tabernacle shrine (1850 x 750 mm), in the Museum of Oslo University has been attributed to Paris, presumably dating from his visit in 1248. Local paintings are usually on pine, so he may have brought this with him, or sent it later.
Paris as an artist
In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" – unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century.
Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him.
Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I.
Paris as a historian
From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms.
The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica Majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer.
Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill.
Paris as cartographer
Outstanding among his other maps were (four versions of) a pilgrim itinerary charting the route from London to Rome in graphic form. A sequence of pictures of towns on the route marked the terminus of each day's travel, enabling the viewer to envisage and follow the whole journey rather like a comic strip – an achievement unprecedented elsewhere in the medieval world.
Studies of Matthew Paris
The relation of Matthew Paris's work to those of John de Celia (John of Wallingford) and Roger of Wendover may be studied in Henry Richards Luard's edition of the Chronica Majora (7 vols., Rolls series, 1872–1881), which contains valuable prefaces. The Historia Anglorum sive historia minor (1067–1253) has been edited by Frederic Madden (3 vols., Rolls series, 1866–1869).
Matthew Paris is sometimes confused with Matthew of Westminster, the reputed author of the Flores historiarum edited by Luard (3 vols., Rolls series, 1890). This work, compiled by various hands, is an edition of Matthew Paris, with continuations extending to 1326.
He wrote a life of St Edmund of Abingdon, sometime Archbishop of Canterbury.
He also wrote the Anglo-Norman La Estoire de Seint Aedward le Rei (the History of Saint Edward the King), which survives in a beautifully illuminated manuscript version, Cambridge, Cambridge University Library MS. Ee.3.59. The manuscript has had a varied publication history. Sections were printed in Francisque Michel's Chroniques Anglo-Normandes. Luard's edition for the Rolls series was severely criticized; it was re-edited for the Anglo-Norman Text Society by K. Y. Wallace. A facsimile for the Roxburghe Club was edited by M. R. James, and the whole manuscript has been digitalized and can be seen online.
Paris House at St Albans High School for Girls is named after him.
Notes
Bibliography
(on manuscripts, and artistic style)
External links
Images
Stanford Digitized texts – Works by and about Paris, including Vaughan etc, in huge pdf files
JSTOR review of Vaughan book
Matthew Paris' Jerusalem pilgrim's travel guide: information, zoomable image British Library website
Art Bulletin article on his maps;Imagined Pilgrimage in the Itinerary Maps of Matthew Paris. 12/1/1999 by Connolly, Daniel K
Latin Chroniclers from the Eleventh to the Thirteenth Centuries:Matthew Paris from The Cambridge History of English and American Literature, Volume I, 1907–21.
Life of St Edward the Confessor, Cambridge Digital Library
Fully annotated copy of Matthew Paris's Claudius Map, with translations and transcriptions
1200 births
1259 deaths
Year of birth uncertain
People from St Albans
English Benedictines
English Christian monks
English chroniclers
English cartographers
English historians
Historians of the Catholic Church
Heraldists
Manuscript illuminators
Writers who illustrated their own writing
Medieval European scribes
People educated at St Albans School, Hertfordshire
Artist authors
Medieval English painters
13th-century Christian monks
13th-century painters
13th-century English artists
13th-century Latin writers
13th-century English writers
13th-century English people
13th-century historians
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[
"\"Enemy\" is a song by American rock band Drowning Pool. It is the second track on their third studio album Full Circle.\n\nMeaning\nThe song was written by vocalist Ryan McCombs about the mudslinging the band SOiL did when he left them to be with his family.\n\nRyan McCombs explains meaning of the song \"It was written about them (the bandmates), to be honest. When I quit the band I didn’t point any fingers. I cited personal reasons. I said that it had nothing to do with anything other than the fact that I just wanted to go home and be a full-time husband and father. But there were a lot of issues. Understandably so, I was always the fifth wheel there. Those guys, they grew up in the same music scene together. They grew up playing together. Three of the guys were in a band for seven years before I even joined. So, understandably, I was always on the outside looking in. It was a lot of different personality conflicts. Over time, you’re living on a bus together, it’s almost impossible to deal with when you’re living in that close proximity. I don’t think it was anybody’s fault. We were just different people and it was time for me to go. And when I did go, I didn’t even say that, and then all of a sudden I got attacked in the press in every form that you can imagine. They pretty much made every story up about me that you can even think of saying about somebody. It got really ugly. I never retorted. Even when I joined Drowning Pool and they started attacking Drowning Pool, none of the guys in the band ever commented or replied. We just ignored it. So, this song “Enemy” is about that, it's about taking the high road. The chorus, itself, is “I walked the high road away from you/God knows what I’ve been through.” I tried to write it in a way that works for anybody who's been in any kind of a situation, whether it be any type of a relationship or any type of working situation, where you took the high road, you kept you're mouth shut and you're trying to do the right thing and you still get called out for complete bullcrap. It's a tough thing to deal with. I just put it in a song instead of going public with it.\"\n\nMusic video\nTwo music videos were made for the song. The first one shows animated versions of the band playing the song, while the second one shows some clips of the animated version and clips of the band playing live.\n\nTrack listing\n\nCharts\n\nReferences \n\n2007 singles\n2007 songs\nDrowning Pool songs\nEleven Seven Label Group singles\nSongs written by Stevie Benton\nSongs written by Ryan McCombs",
"Nirbachito Column () or (Selected Columns) is a feminist work in Bengali literature. It was published in 1992 and is a collection of essays by exiled Bengali author Taslima Nasrin which were previously published in the newspaper Ajker Kagoj. The author was awarded the Ananda Purashkar, a major Bengali literary award, for the book.\n\nSynopsis\nThe book starts by describing her experience of being tortured by a boy when she was eighteen or nineteen. The boy pressed a half-smoked burning cigarette on her hand and laughed and went away. The column ends with mentioning that once in her city, there were some signboards which mentioned \"seek help of cops if ever teasers disturb you\". The column says, \"it did not work out. Probably the teasers eradicated those signboards along with the stamps. As long as those signboards existed, teasers used to stand leaning on the wooden posts of those and whistle at girls. And the most ironic thing is, once, girls had to seek help of those teasers to protect themselves from the teasing of cops.\" \n\nThe book criticizes Islam, Hinduism, and religions in general as man made tools to oppress women. The book inspired so many women, while angered so many fundamentalists, at the same time. This is the first Bengali book ever where a woman talks about sex without any hesitation. Sex discussion is still a taboo in Bangladesh. Columns that are presented in this book were written between 1989-1990. These columns revived the feminist struggle in Bangladesh after almost one century of Roquia Sakhawat Hussain.\n\nPublication\nIn 1989 Taslima Nasrin was invited by then editor Naimul Islam Khan (later her husband) to write columns for the popular newspaper Ajker Kagoj. Taslima Nasrin replied, \"Sorry, I don't know how to write a column.\" Khan replied, \"Don't worry. Write anything that comes to your mind.\"\n\nWhile Taslima Nasrin was thinking about a subject to write about, her gaze fell on her right hand. She noticed a scar and remembered about the boy who pressed the cigarette on her hand, that left the black mark there. Then she took the pen and wrote about the event. She was still uncertain about whether the essay was really acceptable, but she submitted it, mentioning \"I don't know the method of writing column. I just wrote about an experience of my own life.\"\n\nShe was unsure about whether the column would really be published or not. To her surprise, when the column came out in the newspaper, it grabbed the attention of many readers, and then she was invited to write columns regularly. Sales of the newspaper rose whenever she wrote an article.\n\nIn 1991, publisher Mujibur Rahman Khoka, who was a friend of Taslima Nasrin, offered to publish a book on her columns, which she agreed to. After publication, the book became a best seller and was also popular in West Bengal. The book became controversial and helped spread Nasrin's name\n\nControversy\nWhen the book was declared for Ananda Award, Nasrin informed the award committee that the book contains a column where she copied a write-up of Sukumari Bhattacharya on Vedas. But the committee did not take it as a big deal, probably because she herself confessed about it. There is some controversy about the book. The book was criticized by Muslims and traditionalists. They declare that she presented Islam negatively, without understanding Quran and Hadith properly.\n\nAwards\nTaslima Nasrin got Ananda Purashkar for the book back in 1992.\n\nTranslations\nDebjani Sengupta has translated the book into English. It has also been translated in Hindi, Assamese, Marathi and many other languages.\n\nReferences \n\n1992 non-fiction books\nBengali-language literature\nFeminist essays\nEssay collections"
] |
[
"Matthew Paris",
"Paris as a historian",
"what did Matthew Paris do as a historian?",
"Paris continued the history on the plan which his predecessors had followed.",
"what was the history that the predecessors had followed?",
"He derived much of his information from the letters of important people,",
"what did he write about?",
"from conversation with the eyewitnesses of events.",
"did he write about anybody important in history?",
"Richard, Earl of Cornwall and King Henry III,",
"Did he receive letters from the people he wrote about?",
"He derived much of his information from the letters of important people,",
"Did he ever write about historical events?",
"Naturalists have praised his descriptions of the English wildlife of his time,",
"Did he write about any other events or was it just the one?",
"In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day,"
] |
C_90b59744f071414bb128d11a7e2d0661_0
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who was Henry?
| 8 |
Who was Henry from 1257?
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Matthew Paris
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From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms. The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer. Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill. CANNOTANSWER
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King Henry III,
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Matthew Paris, also known as Matthew of Paris (; c. 1200 – 1259), was an English Benedictine monk, chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". Some were written in Latin, some in Anglo-Norman or French verse.
His Chronica Majora is an oft-cited source, though modern historians recognise that Paris was not always reliable. He tended to glorify Holy Roman Emperor Frederick II and denigrate the Pope. However, in his Historia Anglorum, Paris displays a highly negative view of Frederick, going as far as to describe him as a "tyrant" who "committed disgraceful crimes".
Life and work
In spite of his surname and knowledge of the French language, Paris was of English birth, and is believed by some chroniclers to be of the Paris family of Hildersham, Cambridgeshire. He may have studied at Paris in his youth after early education at St Albans School. The first we know of Matthew Paris (from his own writings) is that he was admitted as a monk to St Albans in 1217. It is on the assumption that he was in his teens on admission that his birth date is estimated; some scholars suspect he may have been ten years or more older; many monks only entered monastic life after pursuing a career in the world outside. He was clearly at ease with the nobility and even royalty, which may indicate that he came from a family of some status, although it also seems an indication of his personality. His life was mainly spent in this religious house. In 1248, Paris was sent to Norway as the bearer of a message from Louis IX to Haakon IV; he made himself so agreeable to the Norwegian sovereign that he was invited to superintend the reformation of the Benedictine Nidarholm Abbey outside Trondheim.
Apart from these missions, his known activities were devoted to the composition of history, a pursuit for which the monks of St Albans had long been famous. After admission to the order in 1217, he inherited the mantle of Roger of Wendover, the abbey's official recorder of events, in 1236. Paris revised Roger's work, adding new material to cover his own tenure. This Chronica Majora is an important historical source document, especially for the period between 1235 and 1259. Equally interesting are the illustrations Paris created for his work.
The Dublin MS (see below) contains interesting notes, which shed light on Paris' involvement in other manuscripts, and on the way his own were used. They are in French and in his handwriting:
"If you please you can keep this book till Easter"
"G, please send to the Lady Countess of Arundel, Isabel, that she is to send you the book about St Thomas the Martyr and St Edward which I copied (translated?) and illustrated, and which the Lady Countess of Cornwall may keep until Whitsuntide"
some verses
"In the Countess of Winchester's book let there be a pair of images on each page thus": (verses follow describing thirteen saints)
It is presumed the last relates to Paris acting as commissioning agent and iconographical consultant for the Countess with another artist.
The lending of his manuscripts to aristocratic households, apparently for periods of weeks or months at a time, suggests why he made several different illustrated versions of his Chronicle.
Manuscripts by Matthew Paris
Paris' manuscripts mostly contain more than one text, and often begin with a rather random assortment of prefatory full-page miniatures. Some have survived incomplete, and the various elements now bound together may not have been intended to be so by Paris. Unless stated otherwise, all were given by Paris to his monastery (from some inscriptions it seems they were regarded as his property to dispose of). The monastic libraries were broken up at the Dissolution. These MSS seem to have been appreciated, and were quickly collected by bibliophiles. Many of his manuscripts in the British Library are from the Cotton Library.
Chronica Majora. Corpus Christi College, Cambridge, Mss 26 and 16, 362 x 244/248 mm. ff 141 + 281, composed 1240–53. His major historical work (see below), but less heavily illustrated per page than others. These two volumes contain annals from the creation of the world up to the year 1253. The content up to 1234 or 1235 is based in the main on Roger of Wendover's Flores Historiarum, with additions; after that date the material is Paris' own, and written in his own hand from the annal for 1213 onward. There are 100 marginal drawings (25 + 75), some fragmentary maps and an itinerary, and full-page drawings of William I. MS 16 has very recently had all prefatory matter re-bound separately.
A continuation of the Chronica, from 1254 until Paris' death in 1259, is bound with the Historia Anglorum in the British Library volume below. An unillustrated copy of the material from 1189 to 1250, with much of his sharper commentary about Henry III toned down or removed, was supervised by Paris himself and now exists as British Library Cotton MS Nero D V, fol. 162–393.
Flores Historiarum. Chetham's Hospital and Library, Manchester, MS 6712. Only part of the text, covering 1241 to 1249, is in Paris' hand, though he is credited with the authorship of the whole text, which is an abridgement of the Chronica with additions from the annals of Reading and of Southwark. Additional interpolations to the text make it clear the volume was created for Westminster Abbey. It was apparently started there, copying another MS of Paris' text that went up to 1240. Later it was sent back to the author for him to update; Vaughan argues this was in 1251-2. The illustrations are similar to Paris' style but not by him. Later additions took the chronicle up to 1327.
Historia Anglorum. British Library, Royal MS 14 C VII, fols. 8v–156v. 358 x 250 mm, ff 232 in all. A history of England, begun in 1250 and perhaps completed around 1255, covering the years 1070–1253. The text is an abridgement of the Chronica, also drawing on Wendover's Flores Historiarum and Paris' earlier edited version of the Chronica. Bound with it is the final part of Paris' Chronica Majora, covering the years 1254–1259 (folios 157–218), and prefatory material including an itinerary from London to Jerusalem and tinted drawings of the kings of England. All is in Paris' own hand, apart from folios 210–218 and 154v-156v, which are in a hand of the scribe who has added a note of Matthew Paris' death (f. 218v). The Chronica concludes with a portrait of Paris on his death-bed, presumably not by him. By the 15th century this volume belonged to Humphrey, Duke of Gloucester, son of Henry IV, who inscribed it "Ceste livre est a moy Homffrey Duc de Gloucestre". Later it was held by the bishop of Lincoln, who wrote a note that if the monks of St Albans could prove the book was a loan, they should have it back. Otherwise it was bequeathed to New College, Oxford. The fact that the book was acquired by a 16th-century Earl of Arundel suggests that Duke Humphrey's inscription was not entirely accurate, as New College would probably not have disposed of it.
Abbreviatio chronicorum (or Historia minor), British Library Cotton MS Claudius D VI, fols. 5–100. Another shortened history, mainly covering 1067 to 1253. Probably begun circa 1255, it remained unfinished at Paris' death. Illustrated with thirty-three seated figures of English kings illustrating a genealogy. It also contains the most developed of Paris' four maps of Great Britain.
Chronica excerpta a magnis cronicis. British Library Cotton MS Vitellius A XX, folios 77r–108v. Covers from 1066 to 1246. Written at some point between 1246 and 1259. Not definitely by Paris, but evidently written under his supervision, with some of the text in his own hand.
Book of Additions (Liber additamentorum) British Library Cotton MS Nero D I, ff202 in all, contains maps, Vitae duorum Offarum (illustrated), Gesta abbatum, the lives of the first 23 abbots of St Albans with a miniature portrait of each, coats of arms, as well as copies of original documents. A version of his well-known drawing of an elephant is in this volume, as is a large drawing of Christ, not by Paris.
Life of St Alban etc., dating controversial (1230–1250), Trinity College, Dublin Library, Ms 177 (former Ms E.I.40) 77 ff with 54 miniatures, mostly half-page. 240 x 165 mm. Also contains a Life of St Amphibalus, and various other works relating to the history of St Albans Abbey, both also illustrated. The Life of St Alban is in French verse, adapted from a Latin Life of St Alban by William of St Albans, ca. 1178. The manuscript also contains notes in Paris' hand (see above) showing that his manuscripts were lent to various aristocratic ladies for periods, and that he probably acted as an intermediary between commissioners of manuscripts and the (probably) lay artists who produced them, advising on the calendars and iconography.
Life of King Edward the Confessor 1230s or 40s, Cambridge University Library MS. Ee.3.59. This is the only surviving copy of this work, but is believed to be a slightly later copy made in London, probably by court artists, of Paris' text and framed illustrations. Based on the Latin Life of Edward the Confessor by Aelred of Rievaulx, c. 1162.
Life of St Thomas of Canterbury, British Library, Loan MS 88 – Four leaves (the "Becket Leaves") survive from a French-verse history of the life of Thomas Becket with large illuminations. Based on the Latin Quadrilogus compiled by Elias of Evesham at Crowland Abbey in 1198. The illuminations are attributed to Paris by Janet Backhouse, but not by Nigel Morgan. Vaughan had previously noted that the leaves from the Life of St Thomas and the Life of King Edward are of different sizes, and written by different scribes, neither of them Paris himself, so they are not likely to be part of the manuscript that Paris wrote of having lent to the Countess of Arundel; but that, "to judge from the script and the style of illumination" they are "very close copies of Matthew [Paris]'s original".
Life of St Edmund, a French-verse history of the life of Edmund Rich, Archbishop of Canterbury from 1233 to 1240. Based on Paris' own Latin prose life of Rich, composed in the late 1240s, which drew on a collection of materials made at Pontigny, statements from Robert Bacon and Richard Wych, Bishop of Chichester, and other materials including from Paris' own histories. A 14th-century copy of the prose life has survived in British Library Cotton MS Julius D VI, folios 123–156v. One copy of the verse life that was in Cotton MS Vitellius D VIII was destroyed in the fire of 1731; but another copy was discovered in the early 1900s at Welbeck Abbey and is now in the British Library.
Liber Experimentarius of Bernardus Silvestris, and other fortune-telling tracts. Bodleian Library, Oxford, Ms. Ashmole 304, 176 x 128 mm, ff72. Many illustrations: author portraits (many of ancient Greeks – Socrates, Plato, Euclid, Pythagoras), birds, tables and diagrams of geomantic significance. Several later copies of the text and illustrations survive. Provenance before 1602 unknown.
Miscellaneous writings by John of Wallingford (the Younger), British Library, MS Cotton Julius D VII, 188 × 130 mm, ff. 134. 1247–58. Mostly scribed by John of Wallingford, another monk of St Albans, who also probably did some drawings. A portrait of John, a map of the British Isles, and a Christ in Majesty are all accepted as by Paris. The main text is a chronicle, highly derivative of Paris's. This was John's property, left to his final monastery at Wymondham.
Also, fragments of a Latin biography of Stephen Langton. Various other works, especially maps.
A panel painting on oak of St Peter, the only surviving part of a tabernacle shrine (1850 x 750 mm), in the Museum of Oslo University has been attributed to Paris, presumably dating from his visit in 1248. Local paintings are usually on pine, so he may have brought this with him, or sent it later.
Paris as an artist
In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" – unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century.
Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him.
Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I.
Paris as a historian
From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms.
The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica Majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer.
Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill.
Paris as cartographer
Outstanding among his other maps were (four versions of) a pilgrim itinerary charting the route from London to Rome in graphic form. A sequence of pictures of towns on the route marked the terminus of each day's travel, enabling the viewer to envisage and follow the whole journey rather like a comic strip – an achievement unprecedented elsewhere in the medieval world.
Studies of Matthew Paris
The relation of Matthew Paris's work to those of John de Celia (John of Wallingford) and Roger of Wendover may be studied in Henry Richards Luard's edition of the Chronica Majora (7 vols., Rolls series, 1872–1881), which contains valuable prefaces. The Historia Anglorum sive historia minor (1067–1253) has been edited by Frederic Madden (3 vols., Rolls series, 1866–1869).
Matthew Paris is sometimes confused with Matthew of Westminster, the reputed author of the Flores historiarum edited by Luard (3 vols., Rolls series, 1890). This work, compiled by various hands, is an edition of Matthew Paris, with continuations extending to 1326.
He wrote a life of St Edmund of Abingdon, sometime Archbishop of Canterbury.
He also wrote the Anglo-Norman La Estoire de Seint Aedward le Rei (the History of Saint Edward the King), which survives in a beautifully illuminated manuscript version, Cambridge, Cambridge University Library MS. Ee.3.59. The manuscript has had a varied publication history. Sections were printed in Francisque Michel's Chroniques Anglo-Normandes. Luard's edition for the Rolls series was severely criticized; it was re-edited for the Anglo-Norman Text Society by K. Y. Wallace. A facsimile for the Roxburghe Club was edited by M. R. James, and the whole manuscript has been digitalized and can be seen online.
Paris House at St Albans High School for Girls is named after him.
Notes
Bibliography
(on manuscripts, and artistic style)
External links
Images
Stanford Digitized texts – Works by and about Paris, including Vaughan etc, in huge pdf files
JSTOR review of Vaughan book
Matthew Paris' Jerusalem pilgrim's travel guide: information, zoomable image British Library website
Art Bulletin article on his maps;Imagined Pilgrimage in the Itinerary Maps of Matthew Paris. 12/1/1999 by Connolly, Daniel K
Latin Chroniclers from the Eleventh to the Thirteenth Centuries:Matthew Paris from The Cambridge History of English and American Literature, Volume I, 1907–21.
Life of St Edward the Confessor, Cambridge Digital Library
Fully annotated copy of Matthew Paris's Claudius Map, with translations and transcriptions
1200 births
1259 deaths
Year of birth uncertain
People from St Albans
English Benedictines
English Christian monks
English chroniclers
English cartographers
English historians
Historians of the Catholic Church
Heraldists
Manuscript illuminators
Writers who illustrated their own writing
Medieval European scribes
People educated at St Albans School, Hertfordshire
Artist authors
Medieval English painters
13th-century Christian monks
13th-century painters
13th-century English artists
13th-century Latin writers
13th-century English writers
13th-century English people
13th-century historians
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[
"Henry Brandon, 1st Earl of Lincoln (c. before 18 June 1523 – 1 March 1534) was the youngest child and second son born to Charles Brandon, 1st Duke of Suffolk and Mary Tudor, Queen of France, who was a daughter of Henry VII, King of England. Thus Henry Brandon was nephew to King Henry VIII. His older sisters were Lady Frances Brandon and Lady Eleanor Brandon.\n\nHe and his older brother (1516–1522) are often mistakenly thought to be the same person, because both died as children and bore the same name. It was not unusual in Tudor times to name a child after a deceased sibling.\n\nEarl of Lincoln \nBrandon was created Earl of Lincoln by Henry VIII on 18 June 1525 at the age of only two. He was \"so young that Sir John Vere was appointed to carry him\" during the elaborate ceremony. His father planned a marriage for him with Catherine Willoughby, a peeress in her own right and daughter of Maria de Salinas, who had been one of the queen's ladies-in-waiting.\n\nRole in the line of succession \nThroughout Brandon's life, there was a small but real possibility that he would one day become king of England. At the time of his birth, Mary was Henry VIII's only child, and the king's wife, Catherine of Aragon, was already thirty eight and had little prospect of having any more children. Next in line after the king's children was his sister Margaret Tudor, and her children, but their place in the succession was not secure – Henry would later exclude them by the Second Succession Act (1536), and by his will. Next in line after that came the Duchess of Suffolk and her son Henry Brandon, who during his own lifetime (he died before Henry's son Edward was born), was the only person in the line of succession who had the twin qualifications of being male and English. However, he died at the age of ten or eleven, in Southwark.\n\nBrandon's mother predeceased him, and his own death created royal ambitions in his sister Frances. After the death of the Duchess of Suffolk, the Duke married Catherine Willoughby himself. Though his son was betrothed to her, at ten he was too young for marriage and also sickly. Henry Brandon's niece Lady Jane Grey eventually, and briefly, succeeded to the throne on 10 July 1553.\n\nExternal links \n Sculpture of Henry Brandon at Wingfield College\n\nReferences\n\nHenry\n1523 births\n1534 deaths\nHenry\nPeople from Southwark\n16th-century English nobility\nHenry\n701\nHeirs apparent who never acceded",
"Henry of Anhalt-Köthen (30 July 1778, Schloss Pless23 November 1847, Köthen) was a German prince of the House of Ascania, ruler of the non-sovereign principality of Anhalt-Pless and the last ruler of the duchy of Anhalt-Köthen.\n\nLife\nHe was the fourth (but third surviving) son of Frederick Erdmann, Prince of Anhalt-Pless, by his wife, Louise Ferdinande, daughter of Henry Ernest, Count of Stolberg-Wernigerode.\n\nIn 1796, he joined the Prussian army. During the campaign of 1806, he attained the rank of major. Before his retirement from active service, Henry was elevated to the rank of Generalmajor.\n\nAfter his elder brother Frederick Ferdinand inherited Anhalt-Köthen in 1818, Henry assumed the government over the state country of Pless. When Frederick Ferdinand died in 1830, Henry succeeded him in Köthen, whereas he left Pless to his younger brother Louis, who died in 1841 without heirs. Henry reassumed his rulership over Pless until his death.\n\nIn Trebschen on 18 May 1819 Henry married Auguste Fredericka Espérance (3 August 1794, Brunswick – 13 July 1855, Köthen), daughter of Henry XLIV, Prince Reuss of Köstritz, and sister of Prince Henry LXIII. The union was childless.\n\nSince his youth, Henry was a strong advocate of homeopathy. In 1821 he took under his protection its creator, Samuel Hahnemann, who remained with his large family in Köthen for the next fourteen years as Henry's personal physician.\n\nIn 1830 Henry was made a knight of the Order of the Black Eagle. From 1841, he resumed service in the Prussian army, and by the time of his death, he was a General of Infantry.\n\nWith him, the line of Anhalt-Köthen became extinct. On his death, the duchy was inherited by his kinsmen Alexander Karl of Anhalt-Bernburg and Leopold IV of Anhalt-Dessau, however Alexander renounced his rights over Köthen on behalf of Leopold IV, since it was clear that his eventual assumption of all the Anhalt lands was inevitable.\n\nThe principality of Pless, governed by Semi-Salic Law, passed to Henry's nephew Hans Henry X, Count of Hochberg-Fürstenstein (corresponding article in the German), son of his sister Anna Emilie, who was the only one of his siblings who had children.\n\nAncestry\n\nReference\n\n1778 births\n1847 deaths\nHenry\nHenry\nPeople from Pszczyna\nGenerals of Infantry (Prussia)\nHenry\nDukes of Anhalt-Köthen"
] |
[
"Matthew Paris",
"Paris as a historian",
"what did Matthew Paris do as a historian?",
"Paris continued the history on the plan which his predecessors had followed.",
"what was the history that the predecessors had followed?",
"He derived much of his information from the letters of important people,",
"what did he write about?",
"from conversation with the eyewitnesses of events.",
"did he write about anybody important in history?",
"Richard, Earl of Cornwall and King Henry III,",
"Did he receive letters from the people he wrote about?",
"He derived much of his information from the letters of important people,",
"Did he ever write about historical events?",
"Naturalists have praised his descriptions of the English wildlife of his time,",
"Did he write about any other events or was it just the one?",
"In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day,",
"who was Henry?",
"King Henry III,"
] |
C_90b59744f071414bb128d11a7e2d0661_0
|
Did Matthew Paris have anything to do with King HEnry?
| 9 |
Did Matthew Paris have anything to do with King HEnry III?
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Matthew Paris
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From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms. The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer. Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill. CANNOTANSWER
|
Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms.
|
Matthew Paris, also known as Matthew of Paris (; c. 1200 – 1259), was an English Benedictine monk, chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". Some were written in Latin, some in Anglo-Norman or French verse.
His Chronica Majora is an oft-cited source, though modern historians recognise that Paris was not always reliable. He tended to glorify Holy Roman Emperor Frederick II and denigrate the Pope. However, in his Historia Anglorum, Paris displays a highly negative view of Frederick, going as far as to describe him as a "tyrant" who "committed disgraceful crimes".
Life and work
In spite of his surname and knowledge of the French language, Paris was of English birth, and is believed by some chroniclers to be of the Paris family of Hildersham, Cambridgeshire. He may have studied at Paris in his youth after early education at St Albans School. The first we know of Matthew Paris (from his own writings) is that he was admitted as a monk to St Albans in 1217. It is on the assumption that he was in his teens on admission that his birth date is estimated; some scholars suspect he may have been ten years or more older; many monks only entered monastic life after pursuing a career in the world outside. He was clearly at ease with the nobility and even royalty, which may indicate that he came from a family of some status, although it also seems an indication of his personality. His life was mainly spent in this religious house. In 1248, Paris was sent to Norway as the bearer of a message from Louis IX to Haakon IV; he made himself so agreeable to the Norwegian sovereign that he was invited to superintend the reformation of the Benedictine Nidarholm Abbey outside Trondheim.
Apart from these missions, his known activities were devoted to the composition of history, a pursuit for which the monks of St Albans had long been famous. After admission to the order in 1217, he inherited the mantle of Roger of Wendover, the abbey's official recorder of events, in 1236. Paris revised Roger's work, adding new material to cover his own tenure. This Chronica Majora is an important historical source document, especially for the period between 1235 and 1259. Equally interesting are the illustrations Paris created for his work.
The Dublin MS (see below) contains interesting notes, which shed light on Paris' involvement in other manuscripts, and on the way his own were used. They are in French and in his handwriting:
"If you please you can keep this book till Easter"
"G, please send to the Lady Countess of Arundel, Isabel, that she is to send you the book about St Thomas the Martyr and St Edward which I copied (translated?) and illustrated, and which the Lady Countess of Cornwall may keep until Whitsuntide"
some verses
"In the Countess of Winchester's book let there be a pair of images on each page thus": (verses follow describing thirteen saints)
It is presumed the last relates to Paris acting as commissioning agent and iconographical consultant for the Countess with another artist.
The lending of his manuscripts to aristocratic households, apparently for periods of weeks or months at a time, suggests why he made several different illustrated versions of his Chronicle.
Manuscripts by Matthew Paris
Paris' manuscripts mostly contain more than one text, and often begin with a rather random assortment of prefatory full-page miniatures. Some have survived incomplete, and the various elements now bound together may not have been intended to be so by Paris. Unless stated otherwise, all were given by Paris to his monastery (from some inscriptions it seems they were regarded as his property to dispose of). The monastic libraries were broken up at the Dissolution. These MSS seem to have been appreciated, and were quickly collected by bibliophiles. Many of his manuscripts in the British Library are from the Cotton Library.
Chronica Majora. Corpus Christi College, Cambridge, Mss 26 and 16, 362 x 244/248 mm. ff 141 + 281, composed 1240–53. His major historical work (see below), but less heavily illustrated per page than others. These two volumes contain annals from the creation of the world up to the year 1253. The content up to 1234 or 1235 is based in the main on Roger of Wendover's Flores Historiarum, with additions; after that date the material is Paris' own, and written in his own hand from the annal for 1213 onward. There are 100 marginal drawings (25 + 75), some fragmentary maps and an itinerary, and full-page drawings of William I. MS 16 has very recently had all prefatory matter re-bound separately.
A continuation of the Chronica, from 1254 until Paris' death in 1259, is bound with the Historia Anglorum in the British Library volume below. An unillustrated copy of the material from 1189 to 1250, with much of his sharper commentary about Henry III toned down or removed, was supervised by Paris himself and now exists as British Library Cotton MS Nero D V, fol. 162–393.
Flores Historiarum. Chetham's Hospital and Library, Manchester, MS 6712. Only part of the text, covering 1241 to 1249, is in Paris' hand, though he is credited with the authorship of the whole text, which is an abridgement of the Chronica with additions from the annals of Reading and of Southwark. Additional interpolations to the text make it clear the volume was created for Westminster Abbey. It was apparently started there, copying another MS of Paris' text that went up to 1240. Later it was sent back to the author for him to update; Vaughan argues this was in 1251-2. The illustrations are similar to Paris' style but not by him. Later additions took the chronicle up to 1327.
Historia Anglorum. British Library, Royal MS 14 C VII, fols. 8v–156v. 358 x 250 mm, ff 232 in all. A history of England, begun in 1250 and perhaps completed around 1255, covering the years 1070–1253. The text is an abridgement of the Chronica, also drawing on Wendover's Flores Historiarum and Paris' earlier edited version of the Chronica. Bound with it is the final part of Paris' Chronica Majora, covering the years 1254–1259 (folios 157–218), and prefatory material including an itinerary from London to Jerusalem and tinted drawings of the kings of England. All is in Paris' own hand, apart from folios 210–218 and 154v-156v, which are in a hand of the scribe who has added a note of Matthew Paris' death (f. 218v). The Chronica concludes with a portrait of Paris on his death-bed, presumably not by him. By the 15th century this volume belonged to Humphrey, Duke of Gloucester, son of Henry IV, who inscribed it "Ceste livre est a moy Homffrey Duc de Gloucestre". Later it was held by the bishop of Lincoln, who wrote a note that if the monks of St Albans could prove the book was a loan, they should have it back. Otherwise it was bequeathed to New College, Oxford. The fact that the book was acquired by a 16th-century Earl of Arundel suggests that Duke Humphrey's inscription was not entirely accurate, as New College would probably not have disposed of it.
Abbreviatio chronicorum (or Historia minor), British Library Cotton MS Claudius D VI, fols. 5–100. Another shortened history, mainly covering 1067 to 1253. Probably begun circa 1255, it remained unfinished at Paris' death. Illustrated with thirty-three seated figures of English kings illustrating a genealogy. It also contains the most developed of Paris' four maps of Great Britain.
Chronica excerpta a magnis cronicis. British Library Cotton MS Vitellius A XX, folios 77r–108v. Covers from 1066 to 1246. Written at some point between 1246 and 1259. Not definitely by Paris, but evidently written under his supervision, with some of the text in his own hand.
Book of Additions (Liber additamentorum) British Library Cotton MS Nero D I, ff202 in all, contains maps, Vitae duorum Offarum (illustrated), Gesta abbatum, the lives of the first 23 abbots of St Albans with a miniature portrait of each, coats of arms, as well as copies of original documents. A version of his well-known drawing of an elephant is in this volume, as is a large drawing of Christ, not by Paris.
Life of St Alban etc., dating controversial (1230–1250), Trinity College, Dublin Library, Ms 177 (former Ms E.I.40) 77 ff with 54 miniatures, mostly half-page. 240 x 165 mm. Also contains a Life of St Amphibalus, and various other works relating to the history of St Albans Abbey, both also illustrated. The Life of St Alban is in French verse, adapted from a Latin Life of St Alban by William of St Albans, ca. 1178. The manuscript also contains notes in Paris' hand (see above) showing that his manuscripts were lent to various aristocratic ladies for periods, and that he probably acted as an intermediary between commissioners of manuscripts and the (probably) lay artists who produced them, advising on the calendars and iconography.
Life of King Edward the Confessor 1230s or 40s, Cambridge University Library MS. Ee.3.59. This is the only surviving copy of this work, but is believed to be a slightly later copy made in London, probably by court artists, of Paris' text and framed illustrations. Based on the Latin Life of Edward the Confessor by Aelred of Rievaulx, c. 1162.
Life of St Thomas of Canterbury, British Library, Loan MS 88 – Four leaves (the "Becket Leaves") survive from a French-verse history of the life of Thomas Becket with large illuminations. Based on the Latin Quadrilogus compiled by Elias of Evesham at Crowland Abbey in 1198. The illuminations are attributed to Paris by Janet Backhouse, but not by Nigel Morgan. Vaughan had previously noted that the leaves from the Life of St Thomas and the Life of King Edward are of different sizes, and written by different scribes, neither of them Paris himself, so they are not likely to be part of the manuscript that Paris wrote of having lent to the Countess of Arundel; but that, "to judge from the script and the style of illumination" they are "very close copies of Matthew [Paris]'s original".
Life of St Edmund, a French-verse history of the life of Edmund Rich, Archbishop of Canterbury from 1233 to 1240. Based on Paris' own Latin prose life of Rich, composed in the late 1240s, which drew on a collection of materials made at Pontigny, statements from Robert Bacon and Richard Wych, Bishop of Chichester, and other materials including from Paris' own histories. A 14th-century copy of the prose life has survived in British Library Cotton MS Julius D VI, folios 123–156v. One copy of the verse life that was in Cotton MS Vitellius D VIII was destroyed in the fire of 1731; but another copy was discovered in the early 1900s at Welbeck Abbey and is now in the British Library.
Liber Experimentarius of Bernardus Silvestris, and other fortune-telling tracts. Bodleian Library, Oxford, Ms. Ashmole 304, 176 x 128 mm, ff72. Many illustrations: author portraits (many of ancient Greeks – Socrates, Plato, Euclid, Pythagoras), birds, tables and diagrams of geomantic significance. Several later copies of the text and illustrations survive. Provenance before 1602 unknown.
Miscellaneous writings by John of Wallingford (the Younger), British Library, MS Cotton Julius D VII, 188 × 130 mm, ff. 134. 1247–58. Mostly scribed by John of Wallingford, another monk of St Albans, who also probably did some drawings. A portrait of John, a map of the British Isles, and a Christ in Majesty are all accepted as by Paris. The main text is a chronicle, highly derivative of Paris's. This was John's property, left to his final monastery at Wymondham.
Also, fragments of a Latin biography of Stephen Langton. Various other works, especially maps.
A panel painting on oak of St Peter, the only surviving part of a tabernacle shrine (1850 x 750 mm), in the Museum of Oslo University has been attributed to Paris, presumably dating from his visit in 1248. Local paintings are usually on pine, so he may have brought this with him, or sent it later.
Paris as an artist
In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" – unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century.
Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him.
Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I.
Paris as a historian
From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms.
The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica Majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer.
Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill.
Paris as cartographer
Outstanding among his other maps were (four versions of) a pilgrim itinerary charting the route from London to Rome in graphic form. A sequence of pictures of towns on the route marked the terminus of each day's travel, enabling the viewer to envisage and follow the whole journey rather like a comic strip – an achievement unprecedented elsewhere in the medieval world.
Studies of Matthew Paris
The relation of Matthew Paris's work to those of John de Celia (John of Wallingford) and Roger of Wendover may be studied in Henry Richards Luard's edition of the Chronica Majora (7 vols., Rolls series, 1872–1881), which contains valuable prefaces. The Historia Anglorum sive historia minor (1067–1253) has been edited by Frederic Madden (3 vols., Rolls series, 1866–1869).
Matthew Paris is sometimes confused with Matthew of Westminster, the reputed author of the Flores historiarum edited by Luard (3 vols., Rolls series, 1890). This work, compiled by various hands, is an edition of Matthew Paris, with continuations extending to 1326.
He wrote a life of St Edmund of Abingdon, sometime Archbishop of Canterbury.
He also wrote the Anglo-Norman La Estoire de Seint Aedward le Rei (the History of Saint Edward the King), which survives in a beautifully illuminated manuscript version, Cambridge, Cambridge University Library MS. Ee.3.59. The manuscript has had a varied publication history. Sections were printed in Francisque Michel's Chroniques Anglo-Normandes. Luard's edition for the Rolls series was severely criticized; it was re-edited for the Anglo-Norman Text Society by K. Y. Wallace. A facsimile for the Roxburghe Club was edited by M. R. James, and the whole manuscript has been digitalized and can be seen online.
Paris House at St Albans High School for Girls is named after him.
Notes
Bibliography
(on manuscripts, and artistic style)
External links
Images
Stanford Digitized texts – Works by and about Paris, including Vaughan etc, in huge pdf files
JSTOR review of Vaughan book
Matthew Paris' Jerusalem pilgrim's travel guide: information, zoomable image British Library website
Art Bulletin article on his maps;Imagined Pilgrimage in the Itinerary Maps of Matthew Paris. 12/1/1999 by Connolly, Daniel K
Latin Chroniclers from the Eleventh to the Thirteenth Centuries:Matthew Paris from The Cambridge History of English and American Literature, Volume I, 1907–21.
Life of St Edward the Confessor, Cambridge Digital Library
Fully annotated copy of Matthew Paris's Claudius Map, with translations and transcriptions
1200 births
1259 deaths
Year of birth uncertain
People from St Albans
English Benedictines
English Christian monks
English chroniclers
English cartographers
English historians
Historians of the Catholic Church
Heraldists
Manuscript illuminators
Writers who illustrated their own writing
Medieval European scribes
People educated at St Albans School, Hertfordshire
Artist authors
Medieval English painters
13th-century Christian monks
13th-century painters
13th-century English artists
13th-century Latin writers
13th-century English writers
13th-century English people
13th-century historians
| true |
[
"Oil and Vinegar is a screenplay that was written but never filmed. It is a screenplay that John Hughes wrote and that Howard Deutch planned to direct. It would have starred Molly Ringwald and Matthew Broderick.\n\nPlot\nA soon-to-be-married man and a hitchhiking girl end up talking about their lives during the length of the car ride.\n\nProduction\n\nCasting\nThe film was set to have Molly Ringwald and Matthew Broderick as the two main characters.\n\nDevelopment\nThe screenplay was written by Hughes, with Howard Deutch set to direct. Its style was said to be similar to The Breakfast Club (1985) but instead of taking place in detention, it would have taken place in a car with Ringwald's and Broderick's characters both discussing their lives to each other.\n\nFuture\nWhen asked about Oil and Vinegar Howard Deutch said,\n\nYes. That was John's favorite script and he was saving it for himself, and I convinced him to let me do it. It was the story of a traveling salesman that Matthew Broderick was going to play, and a rock-and-roll girl, a real rocker. Polar opposites. Molly [Ringwald] was going to play that. And I had to make a personal decision about whether to go forward or not. We had rehearsals in a couple weeks, and I was exhausted, and my girlfriend Lea Thompson, who became my wife, said, \"You're going to die. You can't do this. I'm not going to stick around and watch that.\" And I think it was also sprinkled with the fact that I wanted to do one movie that was my movie, not necessarily in service to John, even though I loved John. So between the two things, I didn't... It could still happen. I would do it. Not with Matthew and Molly anymore, but the script is still there. It doesn't need anything. It's one of his great scripts. He had so many great scripts. For instance, he would stay up all night, music blasting, and at like 5:30 or 6 a.m., he'd hand me what was supposed to be a rewrite on Some Kind of Wonderful. We needed five pages, and it was 50 pages. I said, \"What did you do?! What is this?\" and he said, \"Oh, I didn't do that. I did something else. Tell me what you think?\" And it was Ferris Bueller's Day Off. He wrote the first half of the movie in, like, eight hours, and then finished it a couple days later. That was John. I never knew a writer who could do that. No one else had that ability. Even the stuff I fished out of the garbage was gold.\n\nReferences\n\nUnproduced screenplays\nFilms with screenplays by John Hughes (filmmaker)",
"Aaron of York or Aaron fil Josce was a Jewish financier and chief rabbi of England. He was born in York before 1190 and died after 1253. He was probably the son of Josce of York, the leading figure in the York pogrom of 1190.\n\nChief Rabbi\nAaron appears to have obtained some of his father's money and commercial connection, for he was appointed Presbyter Judaeorum, or senior representative, of the Jews of England in 1237, in succession to Josce of London. This would imply that he was very wealthy, as only the wealthiest of the Jews obtained this position. He did not hold the office more than a year, as he was succeeded in 1237 by Elias of London (Prynne, Short Demurrer, ii.38).\n\nTransactions\nIn 1219 he was appointed by the King to act as a talliator (assessor of tallage) and was among the twelve wealthiest Jews of the Kingdom\n\nIn 1221 on the marriage of the King's sister to Alexander II of Scotland, Aaron paid £14 15s towards her dowry.\n\nIn 1223 he paid £43 towards a tallage of £3000, making the second highest payment.\n\nIn 1235 Henry III had made an agreement with him that he would only tax him 100 marks, reduced to 60. This was never honoured\n\nIn 1236, Aaron agreed to pay to King Henry III of England 100 marks a year to be free of all taxes (Tovey, Anglia Judaica, Oxford, 1738, p. 108). Notwithstanding this, in 1273 he was mulcted 4,000 marks of silver and four of gold (Matthew Paris, Chronica Majora, iv.260). This was not an unusual occurrence, for in 1250 he was fined 14,000 marks of silver and ten of gold for the use of the Queen, on the charge of having falsified a deed. On this occasion he told Matthew Paris himself that he had paid the king altogether no less a sum than 30,000 marks in silver and 200 in gold (ibid. v.136). A number of Hebrew sheṭarot dealing with Aaron's transactions still exist, one of them entirely in his own handwriting.\n\nWhen Henry III went to war in 1243 in his absence Aaron of York was accused of transgressions against the King; these are not recorded. He was sent to prison and managed to leave when he paid a fine of £100. The following year he was accused of forging a deed and was summoned before the King. On threat of imprisonment he paid the sum of £30,000 marks in silver to the King and 200 gold marks as a gift to the Queen. At this time the King was desperate for money as the war in France had not gone well. This left Aaron of York in ruins and the King realised that he was no more use to him and dismissed him from his office.\n\nReferences\n\nJewish Encyclopedia bibliography \nMatthew Paris, Chronica Majora, iv.260, v.136;\nM. D. Davis, Sheṭarot, Nos. 93, 102, 108, 109 (autograph), 196-198;\nM. Adler, Jews of Medieval Britain (Cheshire, Sheratt & Huges, 1939)\nPapers of Anglo-Jewish Exhibition, 1887, p. 41;\nTovey (1738), Anglia Judaica, p. 108;\nR. Davies, \"On the Medieval Jews of York\", in Yorkshire Archeological and Topographical Journal, iii.147-197;\nMoses Margoliouth (1851), History of the Jews in Great Britain, i.164.\n\nNotes \n\n12th-century births\n13th-century deaths\nClergy from York\n12th-century English Jews\nEnglish Orthodox Jews\n13th-century English rabbis"
] |
[
"Matthew Paris",
"Paris as a historian",
"what did Matthew Paris do as a historian?",
"Paris continued the history on the plan which his predecessors had followed.",
"what was the history that the predecessors had followed?",
"He derived much of his information from the letters of important people,",
"what did he write about?",
"from conversation with the eyewitnesses of events.",
"did he write about anybody important in history?",
"Richard, Earl of Cornwall and King Henry III,",
"Did he receive letters from the people he wrote about?",
"He derived much of his information from the letters of important people,",
"Did he ever write about historical events?",
"Naturalists have praised his descriptions of the English wildlife of his time,",
"Did he write about any other events or was it just the one?",
"In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day,",
"who was Henry?",
"King Henry III,",
"Did Matthew Paris have anything to do with King HEnry?",
"Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms."
] |
C_90b59744f071414bb128d11a7e2d0661_0
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Did he get recognized for his works?
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Did Matthew Paris get recognized for his works?
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Matthew Paris
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From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms. The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer. Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill. CANNOTANSWER
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CANNOTANSWER
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Matthew Paris, also known as Matthew of Paris (; c. 1200 – 1259), was an English Benedictine monk, chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". Some were written in Latin, some in Anglo-Norman or French verse.
His Chronica Majora is an oft-cited source, though modern historians recognise that Paris was not always reliable. He tended to glorify Holy Roman Emperor Frederick II and denigrate the Pope. However, in his Historia Anglorum, Paris displays a highly negative view of Frederick, going as far as to describe him as a "tyrant" who "committed disgraceful crimes".
Life and work
In spite of his surname and knowledge of the French language, Paris was of English birth, and is believed by some chroniclers to be of the Paris family of Hildersham, Cambridgeshire. He may have studied at Paris in his youth after early education at St Albans School. The first we know of Matthew Paris (from his own writings) is that he was admitted as a monk to St Albans in 1217. It is on the assumption that he was in his teens on admission that his birth date is estimated; some scholars suspect he may have been ten years or more older; many monks only entered monastic life after pursuing a career in the world outside. He was clearly at ease with the nobility and even royalty, which may indicate that he came from a family of some status, although it also seems an indication of his personality. His life was mainly spent in this religious house. In 1248, Paris was sent to Norway as the bearer of a message from Louis IX to Haakon IV; he made himself so agreeable to the Norwegian sovereign that he was invited to superintend the reformation of the Benedictine Nidarholm Abbey outside Trondheim.
Apart from these missions, his known activities were devoted to the composition of history, a pursuit for which the monks of St Albans had long been famous. After admission to the order in 1217, he inherited the mantle of Roger of Wendover, the abbey's official recorder of events, in 1236. Paris revised Roger's work, adding new material to cover his own tenure. This Chronica Majora is an important historical source document, especially for the period between 1235 and 1259. Equally interesting are the illustrations Paris created for his work.
The Dublin MS (see below) contains interesting notes, which shed light on Paris' involvement in other manuscripts, and on the way his own were used. They are in French and in his handwriting:
"If you please you can keep this book till Easter"
"G, please send to the Lady Countess of Arundel, Isabel, that she is to send you the book about St Thomas the Martyr and St Edward which I copied (translated?) and illustrated, and which the Lady Countess of Cornwall may keep until Whitsuntide"
some verses
"In the Countess of Winchester's book let there be a pair of images on each page thus": (verses follow describing thirteen saints)
It is presumed the last relates to Paris acting as commissioning agent and iconographical consultant for the Countess with another artist.
The lending of his manuscripts to aristocratic households, apparently for periods of weeks or months at a time, suggests why he made several different illustrated versions of his Chronicle.
Manuscripts by Matthew Paris
Paris' manuscripts mostly contain more than one text, and often begin with a rather random assortment of prefatory full-page miniatures. Some have survived incomplete, and the various elements now bound together may not have been intended to be so by Paris. Unless stated otherwise, all were given by Paris to his monastery (from some inscriptions it seems they were regarded as his property to dispose of). The monastic libraries were broken up at the Dissolution. These MSS seem to have been appreciated, and were quickly collected by bibliophiles. Many of his manuscripts in the British Library are from the Cotton Library.
Chronica Majora. Corpus Christi College, Cambridge, Mss 26 and 16, 362 x 244/248 mm. ff 141 + 281, composed 1240–53. His major historical work (see below), but less heavily illustrated per page than others. These two volumes contain annals from the creation of the world up to the year 1253. The content up to 1234 or 1235 is based in the main on Roger of Wendover's Flores Historiarum, with additions; after that date the material is Paris' own, and written in his own hand from the annal for 1213 onward. There are 100 marginal drawings (25 + 75), some fragmentary maps and an itinerary, and full-page drawings of William I. MS 16 has very recently had all prefatory matter re-bound separately.
A continuation of the Chronica, from 1254 until Paris' death in 1259, is bound with the Historia Anglorum in the British Library volume below. An unillustrated copy of the material from 1189 to 1250, with much of his sharper commentary about Henry III toned down or removed, was supervised by Paris himself and now exists as British Library Cotton MS Nero D V, fol. 162–393.
Flores Historiarum. Chetham's Hospital and Library, Manchester, MS 6712. Only part of the text, covering 1241 to 1249, is in Paris' hand, though he is credited with the authorship of the whole text, which is an abridgement of the Chronica with additions from the annals of Reading and of Southwark. Additional interpolations to the text make it clear the volume was created for Westminster Abbey. It was apparently started there, copying another MS of Paris' text that went up to 1240. Later it was sent back to the author for him to update; Vaughan argues this was in 1251-2. The illustrations are similar to Paris' style but not by him. Later additions took the chronicle up to 1327.
Historia Anglorum. British Library, Royal MS 14 C VII, fols. 8v–156v. 358 x 250 mm, ff 232 in all. A history of England, begun in 1250 and perhaps completed around 1255, covering the years 1070–1253. The text is an abridgement of the Chronica, also drawing on Wendover's Flores Historiarum and Paris' earlier edited version of the Chronica. Bound with it is the final part of Paris' Chronica Majora, covering the years 1254–1259 (folios 157–218), and prefatory material including an itinerary from London to Jerusalem and tinted drawings of the kings of England. All is in Paris' own hand, apart from folios 210–218 and 154v-156v, which are in a hand of the scribe who has added a note of Matthew Paris' death (f. 218v). The Chronica concludes with a portrait of Paris on his death-bed, presumably not by him. By the 15th century this volume belonged to Humphrey, Duke of Gloucester, son of Henry IV, who inscribed it "Ceste livre est a moy Homffrey Duc de Gloucestre". Later it was held by the bishop of Lincoln, who wrote a note that if the monks of St Albans could prove the book was a loan, they should have it back. Otherwise it was bequeathed to New College, Oxford. The fact that the book was acquired by a 16th-century Earl of Arundel suggests that Duke Humphrey's inscription was not entirely accurate, as New College would probably not have disposed of it.
Abbreviatio chronicorum (or Historia minor), British Library Cotton MS Claudius D VI, fols. 5–100. Another shortened history, mainly covering 1067 to 1253. Probably begun circa 1255, it remained unfinished at Paris' death. Illustrated with thirty-three seated figures of English kings illustrating a genealogy. It also contains the most developed of Paris' four maps of Great Britain.
Chronica excerpta a magnis cronicis. British Library Cotton MS Vitellius A XX, folios 77r–108v. Covers from 1066 to 1246. Written at some point between 1246 and 1259. Not definitely by Paris, but evidently written under his supervision, with some of the text in his own hand.
Book of Additions (Liber additamentorum) British Library Cotton MS Nero D I, ff202 in all, contains maps, Vitae duorum Offarum (illustrated), Gesta abbatum, the lives of the first 23 abbots of St Albans with a miniature portrait of each, coats of arms, as well as copies of original documents. A version of his well-known drawing of an elephant is in this volume, as is a large drawing of Christ, not by Paris.
Life of St Alban etc., dating controversial (1230–1250), Trinity College, Dublin Library, Ms 177 (former Ms E.I.40) 77 ff with 54 miniatures, mostly half-page. 240 x 165 mm. Also contains a Life of St Amphibalus, and various other works relating to the history of St Albans Abbey, both also illustrated. The Life of St Alban is in French verse, adapted from a Latin Life of St Alban by William of St Albans, ca. 1178. The manuscript also contains notes in Paris' hand (see above) showing that his manuscripts were lent to various aristocratic ladies for periods, and that he probably acted as an intermediary between commissioners of manuscripts and the (probably) lay artists who produced them, advising on the calendars and iconography.
Life of King Edward the Confessor 1230s or 40s, Cambridge University Library MS. Ee.3.59. This is the only surviving copy of this work, but is believed to be a slightly later copy made in London, probably by court artists, of Paris' text and framed illustrations. Based on the Latin Life of Edward the Confessor by Aelred of Rievaulx, c. 1162.
Life of St Thomas of Canterbury, British Library, Loan MS 88 – Four leaves (the "Becket Leaves") survive from a French-verse history of the life of Thomas Becket with large illuminations. Based on the Latin Quadrilogus compiled by Elias of Evesham at Crowland Abbey in 1198. The illuminations are attributed to Paris by Janet Backhouse, but not by Nigel Morgan. Vaughan had previously noted that the leaves from the Life of St Thomas and the Life of King Edward are of different sizes, and written by different scribes, neither of them Paris himself, so they are not likely to be part of the manuscript that Paris wrote of having lent to the Countess of Arundel; but that, "to judge from the script and the style of illumination" they are "very close copies of Matthew [Paris]'s original".
Life of St Edmund, a French-verse history of the life of Edmund Rich, Archbishop of Canterbury from 1233 to 1240. Based on Paris' own Latin prose life of Rich, composed in the late 1240s, which drew on a collection of materials made at Pontigny, statements from Robert Bacon and Richard Wych, Bishop of Chichester, and other materials including from Paris' own histories. A 14th-century copy of the prose life has survived in British Library Cotton MS Julius D VI, folios 123–156v. One copy of the verse life that was in Cotton MS Vitellius D VIII was destroyed in the fire of 1731; but another copy was discovered in the early 1900s at Welbeck Abbey and is now in the British Library.
Liber Experimentarius of Bernardus Silvestris, and other fortune-telling tracts. Bodleian Library, Oxford, Ms. Ashmole 304, 176 x 128 mm, ff72. Many illustrations: author portraits (many of ancient Greeks – Socrates, Plato, Euclid, Pythagoras), birds, tables and diagrams of geomantic significance. Several later copies of the text and illustrations survive. Provenance before 1602 unknown.
Miscellaneous writings by John of Wallingford (the Younger), British Library, MS Cotton Julius D VII, 188 × 130 mm, ff. 134. 1247–58. Mostly scribed by John of Wallingford, another monk of St Albans, who also probably did some drawings. A portrait of John, a map of the British Isles, and a Christ in Majesty are all accepted as by Paris. The main text is a chronicle, highly derivative of Paris's. This was John's property, left to his final monastery at Wymondham.
Also, fragments of a Latin biography of Stephen Langton. Various other works, especially maps.
A panel painting on oak of St Peter, the only surviving part of a tabernacle shrine (1850 x 750 mm), in the Museum of Oslo University has been attributed to Paris, presumably dating from his visit in 1248. Local paintings are usually on pine, so he may have brought this with him, or sent it later.
Paris as an artist
In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" – unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century.
Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him.
Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I.
Paris as a historian
From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms.
The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica Majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer.
Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill.
Paris as cartographer
Outstanding among his other maps were (four versions of) a pilgrim itinerary charting the route from London to Rome in graphic form. A sequence of pictures of towns on the route marked the terminus of each day's travel, enabling the viewer to envisage and follow the whole journey rather like a comic strip – an achievement unprecedented elsewhere in the medieval world.
Studies of Matthew Paris
The relation of Matthew Paris's work to those of John de Celia (John of Wallingford) and Roger of Wendover may be studied in Henry Richards Luard's edition of the Chronica Majora (7 vols., Rolls series, 1872–1881), which contains valuable prefaces. The Historia Anglorum sive historia minor (1067–1253) has been edited by Frederic Madden (3 vols., Rolls series, 1866–1869).
Matthew Paris is sometimes confused with Matthew of Westminster, the reputed author of the Flores historiarum edited by Luard (3 vols., Rolls series, 1890). This work, compiled by various hands, is an edition of Matthew Paris, with continuations extending to 1326.
He wrote a life of St Edmund of Abingdon, sometime Archbishop of Canterbury.
He also wrote the Anglo-Norman La Estoire de Seint Aedward le Rei (the History of Saint Edward the King), which survives in a beautifully illuminated manuscript version, Cambridge, Cambridge University Library MS. Ee.3.59. The manuscript has had a varied publication history. Sections were printed in Francisque Michel's Chroniques Anglo-Normandes. Luard's edition for the Rolls series was severely criticized; it was re-edited for the Anglo-Norman Text Society by K. Y. Wallace. A facsimile for the Roxburghe Club was edited by M. R. James, and the whole manuscript has been digitalized and can be seen online.
Paris House at St Albans High School for Girls is named after him.
Notes
Bibliography
(on manuscripts, and artistic style)
External links
Images
Stanford Digitized texts – Works by and about Paris, including Vaughan etc, in huge pdf files
JSTOR review of Vaughan book
Matthew Paris' Jerusalem pilgrim's travel guide: information, zoomable image British Library website
Art Bulletin article on his maps;Imagined Pilgrimage in the Itinerary Maps of Matthew Paris. 12/1/1999 by Connolly, Daniel K
Latin Chroniclers from the Eleventh to the Thirteenth Centuries:Matthew Paris from The Cambridge History of English and American Literature, Volume I, 1907–21.
Life of St Edward the Confessor, Cambridge Digital Library
Fully annotated copy of Matthew Paris's Claudius Map, with translations and transcriptions
1200 births
1259 deaths
Year of birth uncertain
People from St Albans
English Benedictines
English Christian monks
English chroniclers
English cartographers
English historians
Historians of the Catholic Church
Heraldists
Manuscript illuminators
Writers who illustrated their own writing
Medieval European scribes
People educated at St Albans School, Hertfordshire
Artist authors
Medieval English painters
13th-century Christian monks
13th-century painters
13th-century English artists
13th-century Latin writers
13th-century English writers
13th-century English people
13th-century historians
| false |
[
"Arthur Paish (5 April 1874 – 16 August 1948) was an English cricketer. He played first-class cricket for Gloucestershire for five seasons, as well as playing professionally for smaller clubs. Paish worked as groundsman and coach for Wagon Works for thirty years until his retirement in 1948.\n\nCareer\nBorn is Gloucester on 5 April 1874, Paish grew up in Cheltenham and by 1893 he was playing cricket and rugby for Cheltenham. In 1895, Paish became a professional cricket player for Monmouth before joining Clifton's club. In 1898, Paish started playing for Gloucestershire Cricket Club, where he became a first-class bowler. At his peak in 1899, he had the best bowling average in first-class cricket at 18.93, beating W. G. Grace into second place. He was chosen to play for England against Australia in 1899, but declined as he had committed to a county match against the Australian side and did not want them to get used to his bowling. Paish played for Gloucestershire for a total of five seasons, between 1898 and 1903.\n\nPaish spent seven years as a sports coach for Downside College, before returning to cricket as the professional player for Gloucester City Cricket Club. At the end of World War I, Paish took a role as groundsman coach for Wagon Works, where he remained until his retirement in April 1948. He was presented with a cheque for £131 () and the Wagon Works held a benefit match in his honour, raising a further £96 (). Paish died suddenly at his home on 16 August 1948.\n\nReferences\n\n1874 births\n1948 deaths\nEnglish cricketers\nGloucestershire cricketers\nCricketers from Gloucester",
"Jordi Graupera i Garcia-Milà (born 1981, Barcelona) is a Catalan philosopher. He works on self-determination and international relations. He got his PhD in Political Philosophy at The New School for Social Research with a critique of the liberal theory of the state. He currently works as a journalist for several media in Catalonia and in Spain. He ran for Mayor of Barcelona in 2019, but his platform (Barcelona és capital) did not get more than 5% of the votes, the representation threshold in Barcelona's city council.\n\nPublications \n Converses amb Xavier Sala i Martín (CAT: DAU, 2008 ) (in Catalan and Spanish) (ES: Planeta, 2010 )\n Barcelona. La ciutat del present. (Ajuntament de Barcelona. 2013). ) \n Una vida articulada per Josep Maria Espinàs (prologue) (La Campana, 2013 ) (in Catalan)\n Cartes Ianquis de Carles Boix (collaborator) (A contravent, 2012 )\n\nReferences \n\n1981 births\nLiving people\nPeople from Barcelona\nJournalists from Catalonia"
] |
[
"Matthew Paris",
"Paris as a historian",
"what did Matthew Paris do as a historian?",
"Paris continued the history on the plan which his predecessors had followed.",
"what was the history that the predecessors had followed?",
"He derived much of his information from the letters of important people,",
"what did he write about?",
"from conversation with the eyewitnesses of events.",
"did he write about anybody important in history?",
"Richard, Earl of Cornwall and King Henry III,",
"Did he receive letters from the people he wrote about?",
"He derived much of his information from the letters of important people,",
"Did he ever write about historical events?",
"Naturalists have praised his descriptions of the English wildlife of his time,",
"Did he write about any other events or was it just the one?",
"In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day,",
"who was Henry?",
"King Henry III,",
"Did Matthew Paris have anything to do with King HEnry?",
"Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms.",
"Did he get recognized for his works?",
"I don't know."
] |
C_90b59744f071414bb128d11a7e2d0661_0
|
When did he start writing?
| 11 |
When did Matthew Paris start writing?
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Matthew Paris
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From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms. The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer. Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill. CANNOTANSWER
|
From 1235,
|
Matthew Paris, also known as Matthew of Paris (; c. 1200 – 1259), was an English Benedictine monk, chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". Some were written in Latin, some in Anglo-Norman or French verse.
His Chronica Majora is an oft-cited source, though modern historians recognise that Paris was not always reliable. He tended to glorify Holy Roman Emperor Frederick II and denigrate the Pope. However, in his Historia Anglorum, Paris displays a highly negative view of Frederick, going as far as to describe him as a "tyrant" who "committed disgraceful crimes".
Life and work
In spite of his surname and knowledge of the French language, Paris was of English birth, and is believed by some chroniclers to be of the Paris family of Hildersham, Cambridgeshire. He may have studied at Paris in his youth after early education at St Albans School. The first we know of Matthew Paris (from his own writings) is that he was admitted as a monk to St Albans in 1217. It is on the assumption that he was in his teens on admission that his birth date is estimated; some scholars suspect he may have been ten years or more older; many monks only entered monastic life after pursuing a career in the world outside. He was clearly at ease with the nobility and even royalty, which may indicate that he came from a family of some status, although it also seems an indication of his personality. His life was mainly spent in this religious house. In 1248, Paris was sent to Norway as the bearer of a message from Louis IX to Haakon IV; he made himself so agreeable to the Norwegian sovereign that he was invited to superintend the reformation of the Benedictine Nidarholm Abbey outside Trondheim.
Apart from these missions, his known activities were devoted to the composition of history, a pursuit for which the monks of St Albans had long been famous. After admission to the order in 1217, he inherited the mantle of Roger of Wendover, the abbey's official recorder of events, in 1236. Paris revised Roger's work, adding new material to cover his own tenure. This Chronica Majora is an important historical source document, especially for the period between 1235 and 1259. Equally interesting are the illustrations Paris created for his work.
The Dublin MS (see below) contains interesting notes, which shed light on Paris' involvement in other manuscripts, and on the way his own were used. They are in French and in his handwriting:
"If you please you can keep this book till Easter"
"G, please send to the Lady Countess of Arundel, Isabel, that she is to send you the book about St Thomas the Martyr and St Edward which I copied (translated?) and illustrated, and which the Lady Countess of Cornwall may keep until Whitsuntide"
some verses
"In the Countess of Winchester's book let there be a pair of images on each page thus": (verses follow describing thirteen saints)
It is presumed the last relates to Paris acting as commissioning agent and iconographical consultant for the Countess with another artist.
The lending of his manuscripts to aristocratic households, apparently for periods of weeks or months at a time, suggests why he made several different illustrated versions of his Chronicle.
Manuscripts by Matthew Paris
Paris' manuscripts mostly contain more than one text, and often begin with a rather random assortment of prefatory full-page miniatures. Some have survived incomplete, and the various elements now bound together may not have been intended to be so by Paris. Unless stated otherwise, all were given by Paris to his monastery (from some inscriptions it seems they were regarded as his property to dispose of). The monastic libraries were broken up at the Dissolution. These MSS seem to have been appreciated, and were quickly collected by bibliophiles. Many of his manuscripts in the British Library are from the Cotton Library.
Chronica Majora. Corpus Christi College, Cambridge, Mss 26 and 16, 362 x 244/248 mm. ff 141 + 281, composed 1240–53. His major historical work (see below), but less heavily illustrated per page than others. These two volumes contain annals from the creation of the world up to the year 1253. The content up to 1234 or 1235 is based in the main on Roger of Wendover's Flores Historiarum, with additions; after that date the material is Paris' own, and written in his own hand from the annal for 1213 onward. There are 100 marginal drawings (25 + 75), some fragmentary maps and an itinerary, and full-page drawings of William I. MS 16 has very recently had all prefatory matter re-bound separately.
A continuation of the Chronica, from 1254 until Paris' death in 1259, is bound with the Historia Anglorum in the British Library volume below. An unillustrated copy of the material from 1189 to 1250, with much of his sharper commentary about Henry III toned down or removed, was supervised by Paris himself and now exists as British Library Cotton MS Nero D V, fol. 162–393.
Flores Historiarum. Chetham's Hospital and Library, Manchester, MS 6712. Only part of the text, covering 1241 to 1249, is in Paris' hand, though he is credited with the authorship of the whole text, which is an abridgement of the Chronica with additions from the annals of Reading and of Southwark. Additional interpolations to the text make it clear the volume was created for Westminster Abbey. It was apparently started there, copying another MS of Paris' text that went up to 1240. Later it was sent back to the author for him to update; Vaughan argues this was in 1251-2. The illustrations are similar to Paris' style but not by him. Later additions took the chronicle up to 1327.
Historia Anglorum. British Library, Royal MS 14 C VII, fols. 8v–156v. 358 x 250 mm, ff 232 in all. A history of England, begun in 1250 and perhaps completed around 1255, covering the years 1070–1253. The text is an abridgement of the Chronica, also drawing on Wendover's Flores Historiarum and Paris' earlier edited version of the Chronica. Bound with it is the final part of Paris' Chronica Majora, covering the years 1254–1259 (folios 157–218), and prefatory material including an itinerary from London to Jerusalem and tinted drawings of the kings of England. All is in Paris' own hand, apart from folios 210–218 and 154v-156v, which are in a hand of the scribe who has added a note of Matthew Paris' death (f. 218v). The Chronica concludes with a portrait of Paris on his death-bed, presumably not by him. By the 15th century this volume belonged to Humphrey, Duke of Gloucester, son of Henry IV, who inscribed it "Ceste livre est a moy Homffrey Duc de Gloucestre". Later it was held by the bishop of Lincoln, who wrote a note that if the monks of St Albans could prove the book was a loan, they should have it back. Otherwise it was bequeathed to New College, Oxford. The fact that the book was acquired by a 16th-century Earl of Arundel suggests that Duke Humphrey's inscription was not entirely accurate, as New College would probably not have disposed of it.
Abbreviatio chronicorum (or Historia minor), British Library Cotton MS Claudius D VI, fols. 5–100. Another shortened history, mainly covering 1067 to 1253. Probably begun circa 1255, it remained unfinished at Paris' death. Illustrated with thirty-three seated figures of English kings illustrating a genealogy. It also contains the most developed of Paris' four maps of Great Britain.
Chronica excerpta a magnis cronicis. British Library Cotton MS Vitellius A XX, folios 77r–108v. Covers from 1066 to 1246. Written at some point between 1246 and 1259. Not definitely by Paris, but evidently written under his supervision, with some of the text in his own hand.
Book of Additions (Liber additamentorum) British Library Cotton MS Nero D I, ff202 in all, contains maps, Vitae duorum Offarum (illustrated), Gesta abbatum, the lives of the first 23 abbots of St Albans with a miniature portrait of each, coats of arms, as well as copies of original documents. A version of his well-known drawing of an elephant is in this volume, as is a large drawing of Christ, not by Paris.
Life of St Alban etc., dating controversial (1230–1250), Trinity College, Dublin Library, Ms 177 (former Ms E.I.40) 77 ff with 54 miniatures, mostly half-page. 240 x 165 mm. Also contains a Life of St Amphibalus, and various other works relating to the history of St Albans Abbey, both also illustrated. The Life of St Alban is in French verse, adapted from a Latin Life of St Alban by William of St Albans, ca. 1178. The manuscript also contains notes in Paris' hand (see above) showing that his manuscripts were lent to various aristocratic ladies for periods, and that he probably acted as an intermediary between commissioners of manuscripts and the (probably) lay artists who produced them, advising on the calendars and iconography.
Life of King Edward the Confessor 1230s or 40s, Cambridge University Library MS. Ee.3.59. This is the only surviving copy of this work, but is believed to be a slightly later copy made in London, probably by court artists, of Paris' text and framed illustrations. Based on the Latin Life of Edward the Confessor by Aelred of Rievaulx, c. 1162.
Life of St Thomas of Canterbury, British Library, Loan MS 88 – Four leaves (the "Becket Leaves") survive from a French-verse history of the life of Thomas Becket with large illuminations. Based on the Latin Quadrilogus compiled by Elias of Evesham at Crowland Abbey in 1198. The illuminations are attributed to Paris by Janet Backhouse, but not by Nigel Morgan. Vaughan had previously noted that the leaves from the Life of St Thomas and the Life of King Edward are of different sizes, and written by different scribes, neither of them Paris himself, so they are not likely to be part of the manuscript that Paris wrote of having lent to the Countess of Arundel; but that, "to judge from the script and the style of illumination" they are "very close copies of Matthew [Paris]'s original".
Life of St Edmund, a French-verse history of the life of Edmund Rich, Archbishop of Canterbury from 1233 to 1240. Based on Paris' own Latin prose life of Rich, composed in the late 1240s, which drew on a collection of materials made at Pontigny, statements from Robert Bacon and Richard Wych, Bishop of Chichester, and other materials including from Paris' own histories. A 14th-century copy of the prose life has survived in British Library Cotton MS Julius D VI, folios 123–156v. One copy of the verse life that was in Cotton MS Vitellius D VIII was destroyed in the fire of 1731; but another copy was discovered in the early 1900s at Welbeck Abbey and is now in the British Library.
Liber Experimentarius of Bernardus Silvestris, and other fortune-telling tracts. Bodleian Library, Oxford, Ms. Ashmole 304, 176 x 128 mm, ff72. Many illustrations: author portraits (many of ancient Greeks – Socrates, Plato, Euclid, Pythagoras), birds, tables and diagrams of geomantic significance. Several later copies of the text and illustrations survive. Provenance before 1602 unknown.
Miscellaneous writings by John of Wallingford (the Younger), British Library, MS Cotton Julius D VII, 188 × 130 mm, ff. 134. 1247–58. Mostly scribed by John of Wallingford, another monk of St Albans, who also probably did some drawings. A portrait of John, a map of the British Isles, and a Christ in Majesty are all accepted as by Paris. The main text is a chronicle, highly derivative of Paris's. This was John's property, left to his final monastery at Wymondham.
Also, fragments of a Latin biography of Stephen Langton. Various other works, especially maps.
A panel painting on oak of St Peter, the only surviving part of a tabernacle shrine (1850 x 750 mm), in the Museum of Oslo University has been attributed to Paris, presumably dating from his visit in 1248. Local paintings are usually on pine, so he may have brought this with him, or sent it later.
Paris as an artist
In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" – unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century.
Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him.
Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I.
Paris as a historian
From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms.
The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica Majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer.
Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill.
Paris as cartographer
Outstanding among his other maps were (four versions of) a pilgrim itinerary charting the route from London to Rome in graphic form. A sequence of pictures of towns on the route marked the terminus of each day's travel, enabling the viewer to envisage and follow the whole journey rather like a comic strip – an achievement unprecedented elsewhere in the medieval world.
Studies of Matthew Paris
The relation of Matthew Paris's work to those of John de Celia (John of Wallingford) and Roger of Wendover may be studied in Henry Richards Luard's edition of the Chronica Majora (7 vols., Rolls series, 1872–1881), which contains valuable prefaces. The Historia Anglorum sive historia minor (1067–1253) has been edited by Frederic Madden (3 vols., Rolls series, 1866–1869).
Matthew Paris is sometimes confused with Matthew of Westminster, the reputed author of the Flores historiarum edited by Luard (3 vols., Rolls series, 1890). This work, compiled by various hands, is an edition of Matthew Paris, with continuations extending to 1326.
He wrote a life of St Edmund of Abingdon, sometime Archbishop of Canterbury.
He also wrote the Anglo-Norman La Estoire de Seint Aedward le Rei (the History of Saint Edward the King), which survives in a beautifully illuminated manuscript version, Cambridge, Cambridge University Library MS. Ee.3.59. The manuscript has had a varied publication history. Sections were printed in Francisque Michel's Chroniques Anglo-Normandes. Luard's edition for the Rolls series was severely criticized; it was re-edited for the Anglo-Norman Text Society by K. Y. Wallace. A facsimile for the Roxburghe Club was edited by M. R. James, and the whole manuscript has been digitalized and can be seen online.
Paris House at St Albans High School for Girls is named after him.
Notes
Bibliography
(on manuscripts, and artistic style)
External links
Images
Stanford Digitized texts – Works by and about Paris, including Vaughan etc, in huge pdf files
JSTOR review of Vaughan book
Matthew Paris' Jerusalem pilgrim's travel guide: information, zoomable image British Library website
Art Bulletin article on his maps;Imagined Pilgrimage in the Itinerary Maps of Matthew Paris. 12/1/1999 by Connolly, Daniel K
Latin Chroniclers from the Eleventh to the Thirteenth Centuries:Matthew Paris from The Cambridge History of English and American Literature, Volume I, 1907–21.
Life of St Edward the Confessor, Cambridge Digital Library
Fully annotated copy of Matthew Paris's Claudius Map, with translations and transcriptions
1200 births
1259 deaths
Year of birth uncertain
People from St Albans
English Benedictines
English Christian monks
English chroniclers
English cartographers
English historians
Historians of the Catholic Church
Heraldists
Manuscript illuminators
Writers who illustrated their own writing
Medieval European scribes
People educated at St Albans School, Hertfordshire
Artist authors
Medieval English painters
13th-century Christian monks
13th-century painters
13th-century English artists
13th-century Latin writers
13th-century English writers
13th-century English people
13th-century historians
| true |
[
"The Stolen March is a 1926 fantasy novel by the English author Dornford Yates (Cecil William Mercer), first serialised in The Windsor Magazine.\n\nPlot \nThe novel starts credibly enough, with the return of Simon and Patricia Beaulieu, (previously seen in \"Simon\", one of the stories in As Other Men Are, 1925). Simon falls ill, and on medical advice the couple take a relaxed caravan holiday, being driving down through France to the fictional country of Etchechuria, lying in the Pyrenees between France and Spain. En route they are joined by Eulalie (previously seen in chapter VIII of Jonah & Co, 1922) and Pomfret Tudor. There, fantastic things start to happen: they are addressed by a mule speaking English, and find themselves in a land peopled by animated illustrations and nursery rhyme characters. The tone becomes darker, and some of the characters start to develop murderous intent.\n\nBackground \nMercer himself loved the book, but recognised that many readers did not, including the editor of The Windsor Magazine. The novel would probably not have been accepted for serialisation had the editor realised at the start where the opening situation would ultimately lead.\n\nChapters\n\nCritical reception \nMercer’s autobiographer AJ Smithers, writing in 1982, considered that this book contains some of the author’s best pastoral writing, and that some of it is very funny indeed.\n\nSequel \nMercer reported that he had \"had a great many requests that I should turn again to Etchechuria\" and had begun writing a book entitled The Tempered Wind which had reached fifty-one pages when his \"subconscious brain stopped dead\" and he eventually abandoned the project.\n\nReferences\n\nBibliography\n\nExternal links\n \n\n1926 British novels\nWard, Lock & Co. books\nNovels by Dornford Yates\nBritish fantasy novels",
"\"On the Writing of Speculative Fiction\" is an essay by American science fiction writer Robert A. Heinlein. It was first published in 1947, also appearing in Writing Science Fiction & Fantasy: 20 Dynamic Essays By the Field's Top Professionals in 1993, and The Nonfiction of Robert Heinlein: Volume I in 2011.\n\nAdvice, turned essay\nWhen fellow writers, or fans, wrote Heinlein asking for writing advice, he famously gave out his own list of rules for becoming a successful writer:\n You must write\n Finish what you start\n You must refrain from rewriting, except to editorial order\n You must put your story on the market\n You must keep it on the market until it has sold\n\nAbout which he said:\n\nHeinlein later published an entire article under the title \"On the Writing of Speculative Fiction,\" which included his rules, and from which the above quote is taken. When he says \"anything said above them\", he refers to his other guidelines. For example, he describes most stories as fitting into one of a handful of basic categories:\n\n The Gadget Story\n The Human Interest Story\n Boy Meets Girl\n The Little Tailor\n The Man-Who-Learned-Better\nIn the article, Heinlein credits L. Ron Hubbard as having identified \"The Man-Who-Learned-Better\".\n\nReferences\n\nEssays about literature\nRobert A. Heinlein"
] |
[
"Matthew Paris",
"Paris as a historian",
"what did Matthew Paris do as a historian?",
"Paris continued the history on the plan which his predecessors had followed.",
"what was the history that the predecessors had followed?",
"He derived much of his information from the letters of important people,",
"what did he write about?",
"from conversation with the eyewitnesses of events.",
"did he write about anybody important in history?",
"Richard, Earl of Cornwall and King Henry III,",
"Did he receive letters from the people he wrote about?",
"He derived much of his information from the letters of important people,",
"Did he ever write about historical events?",
"Naturalists have praised his descriptions of the English wildlife of his time,",
"Did he write about any other events or was it just the one?",
"In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day,",
"who was Henry?",
"King Henry III,",
"Did Matthew Paris have anything to do with King HEnry?",
"Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms.",
"Did he get recognized for his works?",
"I don't know.",
"When did he start writing?",
"From 1235,"
] |
C_90b59744f071414bb128d11a7e2d0661_0
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Is there any record of when his final writing may have been?
| 12 |
Is there any record of when Matthew Paris' final writing may have been?
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Matthew Paris
|
From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms. The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer. Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill. CANNOTANSWER
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the Historia Anglorum (written about 1253
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Matthew Paris, also known as Matthew of Paris (; c. 1200 – 1259), was an English Benedictine monk, chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". Some were written in Latin, some in Anglo-Norman or French verse.
His Chronica Majora is an oft-cited source, though modern historians recognise that Paris was not always reliable. He tended to glorify Holy Roman Emperor Frederick II and denigrate the Pope. However, in his Historia Anglorum, Paris displays a highly negative view of Frederick, going as far as to describe him as a "tyrant" who "committed disgraceful crimes".
Life and work
In spite of his surname and knowledge of the French language, Paris was of English birth, and is believed by some chroniclers to be of the Paris family of Hildersham, Cambridgeshire. He may have studied at Paris in his youth after early education at St Albans School. The first we know of Matthew Paris (from his own writings) is that he was admitted as a monk to St Albans in 1217. It is on the assumption that he was in his teens on admission that his birth date is estimated; some scholars suspect he may have been ten years or more older; many monks only entered monastic life after pursuing a career in the world outside. He was clearly at ease with the nobility and even royalty, which may indicate that he came from a family of some status, although it also seems an indication of his personality. His life was mainly spent in this religious house. In 1248, Paris was sent to Norway as the bearer of a message from Louis IX to Haakon IV; he made himself so agreeable to the Norwegian sovereign that he was invited to superintend the reformation of the Benedictine Nidarholm Abbey outside Trondheim.
Apart from these missions, his known activities were devoted to the composition of history, a pursuit for which the monks of St Albans had long been famous. After admission to the order in 1217, he inherited the mantle of Roger of Wendover, the abbey's official recorder of events, in 1236. Paris revised Roger's work, adding new material to cover his own tenure. This Chronica Majora is an important historical source document, especially for the period between 1235 and 1259. Equally interesting are the illustrations Paris created for his work.
The Dublin MS (see below) contains interesting notes, which shed light on Paris' involvement in other manuscripts, and on the way his own were used. They are in French and in his handwriting:
"If you please you can keep this book till Easter"
"G, please send to the Lady Countess of Arundel, Isabel, that she is to send you the book about St Thomas the Martyr and St Edward which I copied (translated?) and illustrated, and which the Lady Countess of Cornwall may keep until Whitsuntide"
some verses
"In the Countess of Winchester's book let there be a pair of images on each page thus": (verses follow describing thirteen saints)
It is presumed the last relates to Paris acting as commissioning agent and iconographical consultant for the Countess with another artist.
The lending of his manuscripts to aristocratic households, apparently for periods of weeks or months at a time, suggests why he made several different illustrated versions of his Chronicle.
Manuscripts by Matthew Paris
Paris' manuscripts mostly contain more than one text, and often begin with a rather random assortment of prefatory full-page miniatures. Some have survived incomplete, and the various elements now bound together may not have been intended to be so by Paris. Unless stated otherwise, all were given by Paris to his monastery (from some inscriptions it seems they were regarded as his property to dispose of). The monastic libraries were broken up at the Dissolution. These MSS seem to have been appreciated, and were quickly collected by bibliophiles. Many of his manuscripts in the British Library are from the Cotton Library.
Chronica Majora. Corpus Christi College, Cambridge, Mss 26 and 16, 362 x 244/248 mm. ff 141 + 281, composed 1240–53. His major historical work (see below), but less heavily illustrated per page than others. These two volumes contain annals from the creation of the world up to the year 1253. The content up to 1234 or 1235 is based in the main on Roger of Wendover's Flores Historiarum, with additions; after that date the material is Paris' own, and written in his own hand from the annal for 1213 onward. There are 100 marginal drawings (25 + 75), some fragmentary maps and an itinerary, and full-page drawings of William I. MS 16 has very recently had all prefatory matter re-bound separately.
A continuation of the Chronica, from 1254 until Paris' death in 1259, is bound with the Historia Anglorum in the British Library volume below. An unillustrated copy of the material from 1189 to 1250, with much of his sharper commentary about Henry III toned down or removed, was supervised by Paris himself and now exists as British Library Cotton MS Nero D V, fol. 162–393.
Flores Historiarum. Chetham's Hospital and Library, Manchester, MS 6712. Only part of the text, covering 1241 to 1249, is in Paris' hand, though he is credited with the authorship of the whole text, which is an abridgement of the Chronica with additions from the annals of Reading and of Southwark. Additional interpolations to the text make it clear the volume was created for Westminster Abbey. It was apparently started there, copying another MS of Paris' text that went up to 1240. Later it was sent back to the author for him to update; Vaughan argues this was in 1251-2. The illustrations are similar to Paris' style but not by him. Later additions took the chronicle up to 1327.
Historia Anglorum. British Library, Royal MS 14 C VII, fols. 8v–156v. 358 x 250 mm, ff 232 in all. A history of England, begun in 1250 and perhaps completed around 1255, covering the years 1070–1253. The text is an abridgement of the Chronica, also drawing on Wendover's Flores Historiarum and Paris' earlier edited version of the Chronica. Bound with it is the final part of Paris' Chronica Majora, covering the years 1254–1259 (folios 157–218), and prefatory material including an itinerary from London to Jerusalem and tinted drawings of the kings of England. All is in Paris' own hand, apart from folios 210–218 and 154v-156v, which are in a hand of the scribe who has added a note of Matthew Paris' death (f. 218v). The Chronica concludes with a portrait of Paris on his death-bed, presumably not by him. By the 15th century this volume belonged to Humphrey, Duke of Gloucester, son of Henry IV, who inscribed it "Ceste livre est a moy Homffrey Duc de Gloucestre". Later it was held by the bishop of Lincoln, who wrote a note that if the monks of St Albans could prove the book was a loan, they should have it back. Otherwise it was bequeathed to New College, Oxford. The fact that the book was acquired by a 16th-century Earl of Arundel suggests that Duke Humphrey's inscription was not entirely accurate, as New College would probably not have disposed of it.
Abbreviatio chronicorum (or Historia minor), British Library Cotton MS Claudius D VI, fols. 5–100. Another shortened history, mainly covering 1067 to 1253. Probably begun circa 1255, it remained unfinished at Paris' death. Illustrated with thirty-three seated figures of English kings illustrating a genealogy. It also contains the most developed of Paris' four maps of Great Britain.
Chronica excerpta a magnis cronicis. British Library Cotton MS Vitellius A XX, folios 77r–108v. Covers from 1066 to 1246. Written at some point between 1246 and 1259. Not definitely by Paris, but evidently written under his supervision, with some of the text in his own hand.
Book of Additions (Liber additamentorum) British Library Cotton MS Nero D I, ff202 in all, contains maps, Vitae duorum Offarum (illustrated), Gesta abbatum, the lives of the first 23 abbots of St Albans with a miniature portrait of each, coats of arms, as well as copies of original documents. A version of his well-known drawing of an elephant is in this volume, as is a large drawing of Christ, not by Paris.
Life of St Alban etc., dating controversial (1230–1250), Trinity College, Dublin Library, Ms 177 (former Ms E.I.40) 77 ff with 54 miniatures, mostly half-page. 240 x 165 mm. Also contains a Life of St Amphibalus, and various other works relating to the history of St Albans Abbey, both also illustrated. The Life of St Alban is in French verse, adapted from a Latin Life of St Alban by William of St Albans, ca. 1178. The manuscript also contains notes in Paris' hand (see above) showing that his manuscripts were lent to various aristocratic ladies for periods, and that he probably acted as an intermediary between commissioners of manuscripts and the (probably) lay artists who produced them, advising on the calendars and iconography.
Life of King Edward the Confessor 1230s or 40s, Cambridge University Library MS. Ee.3.59. This is the only surviving copy of this work, but is believed to be a slightly later copy made in London, probably by court artists, of Paris' text and framed illustrations. Based on the Latin Life of Edward the Confessor by Aelred of Rievaulx, c. 1162.
Life of St Thomas of Canterbury, British Library, Loan MS 88 – Four leaves (the "Becket Leaves") survive from a French-verse history of the life of Thomas Becket with large illuminations. Based on the Latin Quadrilogus compiled by Elias of Evesham at Crowland Abbey in 1198. The illuminations are attributed to Paris by Janet Backhouse, but not by Nigel Morgan. Vaughan had previously noted that the leaves from the Life of St Thomas and the Life of King Edward are of different sizes, and written by different scribes, neither of them Paris himself, so they are not likely to be part of the manuscript that Paris wrote of having lent to the Countess of Arundel; but that, "to judge from the script and the style of illumination" they are "very close copies of Matthew [Paris]'s original".
Life of St Edmund, a French-verse history of the life of Edmund Rich, Archbishop of Canterbury from 1233 to 1240. Based on Paris' own Latin prose life of Rich, composed in the late 1240s, which drew on a collection of materials made at Pontigny, statements from Robert Bacon and Richard Wych, Bishop of Chichester, and other materials including from Paris' own histories. A 14th-century copy of the prose life has survived in British Library Cotton MS Julius D VI, folios 123–156v. One copy of the verse life that was in Cotton MS Vitellius D VIII was destroyed in the fire of 1731; but another copy was discovered in the early 1900s at Welbeck Abbey and is now in the British Library.
Liber Experimentarius of Bernardus Silvestris, and other fortune-telling tracts. Bodleian Library, Oxford, Ms. Ashmole 304, 176 x 128 mm, ff72. Many illustrations: author portraits (many of ancient Greeks – Socrates, Plato, Euclid, Pythagoras), birds, tables and diagrams of geomantic significance. Several later copies of the text and illustrations survive. Provenance before 1602 unknown.
Miscellaneous writings by John of Wallingford (the Younger), British Library, MS Cotton Julius D VII, 188 × 130 mm, ff. 134. 1247–58. Mostly scribed by John of Wallingford, another monk of St Albans, who also probably did some drawings. A portrait of John, a map of the British Isles, and a Christ in Majesty are all accepted as by Paris. The main text is a chronicle, highly derivative of Paris's. This was John's property, left to his final monastery at Wymondham.
Also, fragments of a Latin biography of Stephen Langton. Various other works, especially maps.
A panel painting on oak of St Peter, the only surviving part of a tabernacle shrine (1850 x 750 mm), in the Museum of Oslo University has been attributed to Paris, presumably dating from his visit in 1248. Local paintings are usually on pine, so he may have brought this with him, or sent it later.
Paris as an artist
In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" – unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century.
Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him.
Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I.
Paris as a historian
From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms.
The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica Majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer.
Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill.
Paris as cartographer
Outstanding among his other maps were (four versions of) a pilgrim itinerary charting the route from London to Rome in graphic form. A sequence of pictures of towns on the route marked the terminus of each day's travel, enabling the viewer to envisage and follow the whole journey rather like a comic strip – an achievement unprecedented elsewhere in the medieval world.
Studies of Matthew Paris
The relation of Matthew Paris's work to those of John de Celia (John of Wallingford) and Roger of Wendover may be studied in Henry Richards Luard's edition of the Chronica Majora (7 vols., Rolls series, 1872–1881), which contains valuable prefaces. The Historia Anglorum sive historia minor (1067–1253) has been edited by Frederic Madden (3 vols., Rolls series, 1866–1869).
Matthew Paris is sometimes confused with Matthew of Westminster, the reputed author of the Flores historiarum edited by Luard (3 vols., Rolls series, 1890). This work, compiled by various hands, is an edition of Matthew Paris, with continuations extending to 1326.
He wrote a life of St Edmund of Abingdon, sometime Archbishop of Canterbury.
He also wrote the Anglo-Norman La Estoire de Seint Aedward le Rei (the History of Saint Edward the King), which survives in a beautifully illuminated manuscript version, Cambridge, Cambridge University Library MS. Ee.3.59. The manuscript has had a varied publication history. Sections were printed in Francisque Michel's Chroniques Anglo-Normandes. Luard's edition for the Rolls series was severely criticized; it was re-edited for the Anglo-Norman Text Society by K. Y. Wallace. A facsimile for the Roxburghe Club was edited by M. R. James, and the whole manuscript has been digitalized and can be seen online.
Paris House at St Albans High School for Girls is named after him.
Notes
Bibliography
(on manuscripts, and artistic style)
External links
Images
Stanford Digitized texts – Works by and about Paris, including Vaughan etc, in huge pdf files
JSTOR review of Vaughan book
Matthew Paris' Jerusalem pilgrim's travel guide: information, zoomable image British Library website
Art Bulletin article on his maps;Imagined Pilgrimage in the Itinerary Maps of Matthew Paris. 12/1/1999 by Connolly, Daniel K
Latin Chroniclers from the Eleventh to the Thirteenth Centuries:Matthew Paris from The Cambridge History of English and American Literature, Volume I, 1907–21.
Life of St Edward the Confessor, Cambridge Digital Library
Fully annotated copy of Matthew Paris's Claudius Map, with translations and transcriptions
1200 births
1259 deaths
Year of birth uncertain
People from St Albans
English Benedictines
English Christian monks
English chroniclers
English cartographers
English historians
Historians of the Catholic Church
Heraldists
Manuscript illuminators
Writers who illustrated their own writing
Medieval European scribes
People educated at St Albans School, Hertfordshire
Artist authors
Medieval English painters
13th-century Christian monks
13th-century painters
13th-century English artists
13th-century Latin writers
13th-century English writers
13th-century English people
13th-century historians
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[
"The Lepcha script, or Róng script, is an abugida used by the Lepcha people to write the Lepcha language. Unusually for an abugida, syllable-final consonants are written as diacritics.\n\nHistory\n\nLepcha is derived from the Tibetan script, and may have some Burmese influence. According to tradition, it was devised at the beginning of the 18th century by prince Chakdor Namgyal of the Namgyal dynasty of Sikkim, or by scholar Thikúng Men Salóng in the 17th century. Early Lepcha manuscripts were written vertically. When they were later written horizontally, the letters remained in their new orientations, rotated 90° from their Tibetan prototypes. This resulted in an unusual method of writing final consonants.\n\nTypology\n\nLepcha is now written horizontally, but the changes in the direction of writing have resulted in a metamorphosis of the eight syllable-final consonants from conjuncts (ligatures) as in Tibetan to superposed diacritics.\n\nAs in most other Brahmic scripts, the short vowel /-a/ is not written; other vowels are written with diacritics before (/-i, -o/), after (/-ā, -u/), or under (/-e/) the initial consonant. The length mark, however, is written over the initial, as well as any final consonant diacritic, and fuses with /-o/ and /-u/. (When fused as /-ō/, however, it lies below any final consonant.) Initial vowels do not have separate letters, but are written with the vowel diacritics on an &-shaped zero-consonant letter.\n\nThere are postposed diacritics for medial /-y-/ and /-r-/, which may be combined (krya). For medial /-l-/, however, there are seven dedicated conjunct letters. That is, there is a special letter for /kla/ which does not resemble the letter for /ka/. (Only /gla/ is written with a straightforward diacritic.)\n\nOne of the final letters, /-ŋ/, is an exception to these patterns. First, unlike the other finals, final /-ŋ/ is written to the left of the initial consonant rather than on top, occurring even before preposed vowels. That is, /kiŋ/ is written \"ngki\". Second, there is no inherent vowel before /-ŋ/; even short /-a-/ must be written, with a diacritic unique to this situation. (It appears to be the diacritic for long /-ā/ rotated 180° around the consonant letter.) That is, /kaŋ/ is written \"ngka\", rather than \"\" as would be expected from the general pattern.\n\nStructure\nAs an abugida, a basic letter represents both a consonant and an inherent, or default, vowel. In Lepcha, the inherent vowel is .\n\nConsonants\n\nVowels\n\nNumerals\n\nUnicode\n\nLepcha script was added to the Unicode Standard in April, 2008 with the release of version 5.1.\n\nThe Unicode block for Lepcha is U+1C00–U+1C4F:\n\nReferences\nLeonard van der Kuijp, The Tibetan Script and Derivatives, in Daniels and Bright, The World's Writing Systems, 1996.\n\nExternal links\n\n Lepcha script at Omniglot.com\n Róng Kít - A free Lepcha Unicode Kit including fonts and keyboard files (Win/Mac/Linux), published by the Sikkim Bhutia Lepcha Apex Committee (SIBLAC)\n Noto Sans Lepcha - A free Lepcha Unicode font that harmonizes with other fonts of the Noto font family\n Mingzat - A Lepcha Unicode font by SIL, based on Jason Glavy’s JG Lepcha\n JG Lepcha - A free and well designed but non-Unicode compliant font by Jason Glavy.\n\nBrahmic scripts",
"The Same Sun is the second studio album by Irish singer-songwriter Sharon Corr and was released on 16 September 2013.\n\nBackground\nCorr revealed in an interview with Nick Milligan in January 2012 that she was piecing together her second solo record. \"We're going to record it in May and hopefully have it out in September/October.\" Sharon is taking a new approach with the writing of this record, \"Mostly my whole life I've written on my own. Some of the songs I wrote for The Corrs, like \"So Young\" and \"Radio\", I wrote myself. So for the new album I've been writing with other people and that's been brilliant. It's brought other angles to my music that perhaps wouldn't have been there.\"\n\nCorr finished writing the album in March 2012 and she said it may be called Catch the Moon. The title comes from the idea \"of when somebody comes into your life and they utterly change yours, that you would go to any lengths for them... so you would catch the moon.\" However, on 21 August 2013, it was announced that the album would be titled The Same Sun.\n\nThe Same Sun was first released in Indonesia, Argentina, Brazil, Chile and the Philippines on 16 September 2013, with selected countries following later.\n\nTrack listing\n\nCritical reception\n\nThe Same Sun has obtained generally positive reviews from critics. According to Mojo (magazine), Corr has \"unleashed a deep, husky voice to deliver '60s influenced about adult vulnerability, remorse and temptation.\" Graham Clark from The Yorkshire Times gave the album a 3 over 5, stating that her style is \"not that far removed from Carole King, Gloria Estefan and Karen Carpenter, in fact you could imagine any of these artists singing these songs.\" Pip Ellwood from Entertainment Focus, who gave the album 4 stars out of 5, commented that \"The Same Sun is a gorgeous collection of songs from one of the most talented female artists in the industry.\"\n\nRelease history\n\nReferences\n\nExternal links\n Take A Minute – new video, new album Sharon Corr – Official Website\n\n2013 albums\nSharon Corr albums\nAlbums produced by Mitchell Froom"
] |
[
"Patsy Cline",
"Early years"
] |
C_eb67cd934c274c28837e9c932e60a6af_1
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Was she musical from childhood?
| 1 |
Was Patsy Cline musical from childhood?
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Patsy Cline
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Patsy Cline was born Virginia Patterson Hensley on September 8, 1932 in Winchester, Virginia, in the city's Memorial Hospital. She was the eldest child of seamstress Hilda Virginia (nee Patterson, 1916-1998) and blacksmith Samuel Lawrence Hensley (1889-1956). She had a brother Samuel Jr. (1939-2004) and a sister Sylvia. The family moved often before finally settling in Winchester, Virginia when Patsy was 16. Sam Hensley deserted his family in 1947, but the children's home was reportedly happy nonetheless. When Patsy was 13, she was hospitalized with a throat infection and rheumatic fever. She later said, "The fever affected my throat and when I recovered I had this booming voice like Kate Smith." Cline enrolled at John Handley High School but never attended classes. To help her mother support their family, she worked as a soda jerk at Gaunt's Drug Store and a waitress at the Triangle Diner. She watched performers through the window at the local radio station, and she asked WINC (AM) disc jockey Jimmy McCoy if she could sing on his show. Her performance in 1947 was well received and she was asked back. This led to appearances at local nightclubs wearing fringed Western outfits that her mother made from Patsy's designs. Cline performed in variety and talent shows in the Winchester and Tri-State areas, and she gained a large following through the shows and local radio appearances. Jimmy Dean was already a country star in 1954, and she became a regular with him on Connie B. Gay's Town and Country Jamboree radio show on WAVA (AM) in Arlington County, Virginia. CANNOTANSWER
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She was the eldest child of seamstress Hilda Virginia (nee Patterson, 1916-1998) and blacksmith Samuel Lawrence Hensley (1889-1956).
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Patsy Cline (born Virginia Patterson Hensley; September 8, 1932 – March 5, 1963) was an American singer. She is considered one of the most influential vocalists of the 20th century and was one of the first country music artists to successfully cross over into pop music. Cline had several major hits during her eight-year recording career, including two number-one hits on the Billboard Hot Country and Western Sides chart.
Cline's first professional performances began at the local WINC radio station when she was fifteen. In the early 1950s, Cline began appearing in a local band led by performer Bill Peer. Various local appearances led to featured performances on Connie B. Gay's Town and Country television broadcasts. It also led to the signing of her first recording contract with the Four Star label in 1954. She had minor success with her earliest Four Star singles including "A Church, a Courtroom, Then Goodbye" (1955) and "I've Loved and Lost Again" (1956). In 1957 however, Cline made her first national television appearance on Arthur Godfrey's Talent Scouts. After performing "Walkin' After Midnight", the single would become her first major hit on both the country and pop charts.
Cline's further singles with Four Star Records were unsuccessful, although she continued performing and recording. After marrying in 1957 and giving birth in 1958, she moved to Nashville, Tennessee, to further her career. Working with new manager Randy Hughes, Cline would become a member of the Grand Ole Opry and then move to Decca Records in 1960. Under the direction of producer Owen Bradley, her musical sound shifted and she achieved consistent success. The 1961 single "I Fall to Pieces" would become her first to top the Billboard country chart. As the song became a hit, Cline was severely injured in an automobile accident, which caused her to spend a month in the hospital. After she recovered, her next single release "Crazy" would also become a major hit.
Between 1962 and 1963, Cline had hits with "She's Got You", "When I Get Through with You", "So Wrong" and "Leavin' on Your Mind". She also toured and headlined shows with more frequency. In March 1963, Cline was killed in a plane crash along with country performers Cowboy Copas, Hawkshaw Hawkins and manager Randy Hughes, during a flight from Kansas City, Kansas back to Nashville.
Since her death, Cline has been cited as one of the most celebrated, respected and influential performers of the 20th century. Her music has influenced performers of various styles and genres. She has also been seen as a forerunner for women in country music, being among the first to sell records and headline concerts. In 1973, she became the first female performer to be inducted into the Country Music Hall of Fame. In the 1980s, Cline's posthumous successes continued in the mass media. She was portrayed twice in major motion pictures, including the 1985 biopic Sweet Dreams starring Jessica Lange. Several documentaries and stage shows were released during this time, including the 1988 musical Always...Patsy Cline. A 1991 box set of her recordings was issued that received critical acclaim. Her greatest hits album sold over 10 million copies in 2005. In 2011, Cline's childhood home was restored as a museum for visitors and fans to tour. In 2017, Cline’s Dream Home in Nashville, TN was placed on the Tennessee Historical Markers List by the Patsy Cline Fan Home Owners, Steven Shirey and Thomas Corritore.
Early life
Cline was born Virginia Patterson Hensley in Winchester, Virginia on September 8, 1932, to Hilda Virginia (née Patterson; 1916–1998) and Samuel Lawerence Hensley (1889–1956). Mrs. Hensley was only 16 years old at the time of Cline's birth. Sam Hensley had been married before; Cline had two half siblings (aged 12 and 15) that lived with a foster family because of their mother's death years before. After Cline, Hilda Hensley would also have Samuel Jr. (called John) and Sylvia Mae. Besides being called "Virginia" in her childhood, Cline was also referred to as "Ginny". She temporarily lived with her mother's family in Gore, Virginia before relocating many times throughout the state. In her childhood, the family relocated where Samuel Hensley, a blacksmith, could find employment, including Elkton, Staunton, and Norfolk. When the family had little money, she would find work. This included an Elkton poultry factory, where her job was to pluck and cut chickens. The family moved often before finally settling in Winchester, Virginia on South Kent Street. Cline would later report that her father sexually abused her. When confiding about the abuse to friend Loretta Lynn, Cline told her, "take this to your grave". Hilda Hensley would later report details of the abuse to producers of Cline's 1985 biopic Sweet Dreams.
At age 13, Cline was hospitalized with a throat infection and rheumatic fever. Speaking of the incident in 1957 she said, "I developed a terrible throat infection and my heart even stopped beating. The doctor put me in an oxygen tent. You might say it was my return to the living after several days that launched me as a singer. The fever affected my throat and when I recovered I had this booming voice like Kate Smith's." It was during this time she developed an interest in singing. She started performing with her mother in the local Baptist choir. Mother and daughter also performed duets at church social events. She also taught herself how to play the piano.
With the new performing opportunities, Cline's interest in singing only grew further and at the age of 14, she told her mother that she was going to audition for the local radio station. Her first radio performances began at WINC in the Winchester area. According to WINC's radio disc jockey Joltin' Jim McCoy, Cline appeared in the station's waiting room one day and asked to audition. McCoy was impressed by her audition performance, reportedly saying, "Well, if you've got nerve enough to stand before that mic and sing over the air live, I've got nerve enough to let you." While also performing on the radio, Cline also started appearing in talent contests and created a nightclub cabaret act similar to performer Helen Morgan.
Cline's mother and father had marital conflicts during her childhood and by 1947, her father deserted the family. Author Ellis Nassour of the biography Honky Tonk Angel: An Intimate Story of Patsy Cline reported Cline had a "beautiful relationship" with her mother. In his interviews with Hilda Hensley, he quoted Cline's mother in saying they "were more like sisters" than parent and child. Upon entering the ninth grade, Cline enrolled at John Handley High School in Winchester, Virginia. However, the family had trouble sustaining an income after her father's desertion. Therefore, Cline dropped out of high school to help support the family. She began working at Gaunt's Drug Store in the Winchester area as a clerk and soda jerk.
Career
1948–1953: Early career
At age 15, Cline wrote a letter to the Grand Ole Opry asking for an audition. She told local photographer Ralph Grubbs about the letter, "A friend thinks I'm crazy to send it. What do you think?" Grubbs encouraged Cline to send it. Several weeks later, she received a return letter from the Opry asking for pictures and recordings. At the same time, Gospel performer Wally Fowler headlined a concert in her hometown. Cline convinced concert employees to let her backstage where she asked Fowler for an audition. Following a successful audition, Cline's family received a call asking for her to audition for the Opry. She traveled with her mother, two siblings, and a family friend on an eight-hour journey to Nashville, Tennessee. With limited finances, they drove overnight and slept in a Nashville park the following morning. Cline auditioned for Opry performer Moon Mullican the same day. The audition was well-received and Cline expected to hear from the Opry the same day. However, she never received news and the family returned to Virginia.
By the early 1950s, Cline continued performing around the local area. In 1952, she asked to audition for local country bandleader Bill Peer. Following her audition, she began performing regularly as a member of Bill Peer's Melody Boys and Girls. The pair's relationship turned romantic, continuing an affair for several years. Nonetheless, the pair remained married to their spouses. Peer's group played primarily at the Moose Lodge in Brunswick, Maryland where she would meet her first husband, Gerald Cline. Peer encouraged her to have a more appropriate stage name. She changed her first name from Virginia to Patsy (taken from her middle name "Patterson"). She kept her new last name, Cline. Ultimately, she became professionally known as "Patsy Cline".
In August 1953, Cline was a contestant in a local country music contest. She won 100 dollars and the opportunity to perform as a regular on Connie B. Gay's Town and Country Time. The show included country stars Jimmy Dean, Roy Clark, George Hamilton IV and Billy Grammer, and was filmed in Washington D.C. and Arlington, Virginia. She was not officially added to the program's television shows until October 1955. Cline's television performances received critical acclaim. The Washington Star magazine praised her stage presence, commenting, "She creates the moods through movement of her hands and body and by the lilt of her voice, reaching way down deep in her soul to bring forth the melody. Most female country music vocalists stand motionless, sing with monotonous high-pitched nasal twang. Patsy's come up with a throaty style loaded with motion and E-motion."
1954–1960: Four Star Records
In 1954, Bill Peer created and distributed a series of demonstration tapes with Cline's voice on it. A tape was brought to the attention of Bill McCall, president of Four Star Records. On September 30, 1954, she signed a two-year recording contract with the label alongside Peer and her husband Gerald Cline. The original contract allowed Four Star to receive most of the money for the songs she recorded. Therefore, Cline received little of the royalties from the label, totaling out to 2.34 percent on her recording contract. Her first recording session took place in Nashville, Tennessee on January 5, 1955. Songs for the session were handpicked by McCall and Paul Cohen. Four Star leased the recordings to the larger Decca Records. For those reasons Owen Bradley was chosen as the session's producer, a professional relationship that would continue into the 1960s. Her first single release was 1955's "A Church, a Courtroom, Then Goodbye". Although Cline promoted it with an appearance on the Grand Ole Opry the song was not successful.
Cline recorded a variety of musical styles while recording for Four Star. This included genres such as gospel, rockabilly, traditional country and pop. Writers and music journalists have had mixed beliefs on Cline's Four Star material. Robert Oermann and Mary Bufwack of Finding Her Voice: Women in Country Music called the label's choice of material "mediocre". They also commented that Cline seemed to have "groped for her own sound on the label". Kurt Wolff of Country Music the Rough Guide commented that the music was "sturdy enough, but they only hinted at the potential that lurked inside her. Richie Unterberger of Allmusic claimed it was Cline's voice that made the Four Star material less appealing: "Circumstances were not wholly to blame for Cline's commercial failures. She would have never made it as a rockabilly singer, lacking the conviction of Wanda Jackson or the spunk of Brenda Lee. In fact, in comparison with her best work, she sounds rather stiff and ill-at-ease on most of her early singles."
Between 1955 and 1956, Cline's four singles for Four Star failed to become hits. However, she continued performing regionally, including on the Town and Country Jamboree. In 1956, she appeared on ABC's Country Music Jubilee, Ozark Jubilee. It was at one of her local performances that she met her second husband, Charlie Dick. In 1956, Cline received a call to perform on Arthur Godfrey's Talent Scouts, a national television show she had auditioned for several months prior. She accepted the offer, using her mother Hilda Hensley as her talent scout for the show. According to the show's rules, talent scouts could not be family members. For those reasons, Cline's mother lied in order to appear on the show. When Arthur Godfrey asked if Hensley had known Cline her entire life, she replied, "Yes, just about!"
Cline and Mrs. Hensley flew into LaGuardia Airport in New York City on January 18, 1957. She made her debut appearance on the program on January 21. The day of the show, she met with the show's producer Janette Davis. Cline had chosen "A Poor Man's Roses (Or a Rich Man's Gold)" to perform on the program, but Davis preferred another song she had recorded, "Walkin' After Midnight". Cline initially refused to perform it, but ultimately agreed to it. Davis also suggested Cline wear a cocktail dress instead of the cowgirl outfit created by her mother. She performed "Walkin' After Midnight" and won the program's contest that night. The song had not yet been released as a single. In order to keep up with public demand, Decca Records rush-released the song as a single on February 11. The song ultimately became Cline's breakthrough hit, peaking at number 2 on the Billboard Hot Country and Western Sides chart. The song also reached number 12 on the Billboard pop music chart. The song has since been considered a classic in country music since its release.
Music critics and writers have positively praised "Walkin' After Midnight". Mary Bufwack and Robert Oermann called the song "bluesy". Richie Unterberger noted "it's well-suited for the almost bemused aura of loneliness of the lyric." The success of "Walkin' After Midnight" brought Cline numerous appearances on shows and major networks. She continued working for Arthur Godfrey over the next several months. She also appeared on the Grand Ole Opry in February and the television program Western Ranch Party in March. The money she had earned from her numerous engagements totaled out to ten thousand dollars. Cline gave all the money to her mother, which she used to the pay the mortgage on her Winchester house. In August 1957, her debut studio album was issued via Decca Records.
Cline's follow-up singles to "Walkin' After Midnight" did not yield any success. This was partially due to the quality of material chosen for her to record. Cline was dissatisfied with the limited success following "Walkin' After Midnight". Bradley recounted how she often came to him saying, "Hoss, can't you do something? I feel like a prisoner." Around the same time, Cline was fired from her regular slot on Town and Country Jamboree. According to Connie B. Gay, she ran late for shows and "showed up with liquor on her breath". In September 1957, Cline married Charlie Dick and he was soon sent to Fort Bragg, North Carolina on a military assignment. Cline also gave birth to her first daughter Julie. In hopes of restarting her career, Cline and her family moved to Nashville, Tennessee.
1960–1961: New beginnings and car accident
Cline's professional decisions yielded more positive results by the early 1960s. Upon moving to Nashville, she signed a management deal with Randy Hughes. She originally wished to work with Hubert Long, however, he was busy managing other artists. Instead, she turned her attention to Hughes. With the help of Hughes, she began working steadier jobs. He organized fifty dollar bookings and got her multiple performances on the Grand Ole Opry. In January 1960, Cline officially became a member of the Opry. When she asked general manager Ott Devine about a membership he replied, "Patsy, if that's all you want, you're on the Opry." Also in January 1960, Cline made her final recording sessions set forth in her contract with Four Star Records. Later that year, her final singles with the label were released: "Lovesick Blues" and "Crazy Dreams". Leaving Four Star, Cline officially signed with Decca Records in late 1960, working exclusively under Bradley's direction. Insisting on receiving an advance, she received $1,000 from Bradley once she began at the label.
Her first release under Decca was 1961's "I Fall to Pieces". The song was written by newly established Nashville songwriters Hank Cochran and Harlan Howard. "I Fall to Pieces" had first been turned down by Roy Drusky and Brenda Lee before Cline cut it in November 1960. At the recording session, she worried about the song's production, particularly the background vocals performed by The Jordanaires. After much arguing between both Cline and Bradley, they negotiated that she would record "I Fall to Pieces" (a song Bradley favored) and "Lovin' in Vain" (a song she favored). Released as a single in January 1961, "I Fall to Pieces" attracted little attention upon its initial issue. In April, the song debuted on the Hot Country and Western Sides chart. By August 7, the song became her first to top the country chart. Additionally, "I Fall to Pieces" crossed over onto the Billboard Pop chart, peaking at number 12.
On June 14, 1961, Cline and her brother Sam Hensley, Jr. were involved in an automobile accident. Cline had brought her mother, sister and brother to see her new Nashville home the day before. On the day of the accident, Cline and her brother went shopping to buy material for her mother to make clothing. Upon driving home, their car was struck head-on by another vehicle. The impact threw her directly into the car windshield, causing extensive facial injuries. Among her injuries, Cline suffered a broken wrist, dislocated hip and a large cut across her forehead, barely missing her eyes. Friend Dottie West heard about the accident via the radio and rushed to the scene, helping to remove pieces of broken glass from Cline's hair. When first responders arrived, Cline insisted the driver in the other vehicle be treated first. Two of the three passengers riding in the car that struck Cline died after arriving at the hospital. When she was brought to the hospital, her injuries were life-threatening and she was not expected to live. She underwent surgery and survived. According to her husband Charlie Dick, upon waking up she said to him, "Jesus was here, Charlie. Don't worry. He took my hand and told me, 'No, not now. I have other things for you to do.'" She spent a month recovering in the hospital.
1961–1963: Career peak
Cline returned to her career six weeks after her 1961 car accident. Her first public appearance was on the Grand Ole Opry where she assured fans she would continue performing. She said to the audience that night, "You're wonderful. I'll tell you one thing: the greatest gift, I think, that you folks coulda given me was the encouragement that you gave me. Right at the very time I needed you the most, you came through with the flying-est colors. And I just want to say you'll just never know how happy you made this ol' country gal." Cline's follow-up single to "I Fall to Pieces" was the song "Crazy". It was written by Willie Nelson, whose version of the song was first heard by Dick. When Dick brought the song to Cline she did not like it. When Dick encouraged her to record "Crazy", Cline replied, "I don't care what you say. I don't like it and I ain't gonna record it. And that's that." Bradley liked the song and set the date for its recording for August 17. When Cline got to Bradley's studio, he convinced her to record it. She listened to Nelson's version of "Crazy" and decided she was going to perform it differently. Nelson's version included a spoken section that Cline removed. She cut additional material on August 17 and when she got to "Crazy", it became difficult to perform. Because Cline was still recovering from the accident, performing the song's high notes caused rib pain. Giving her time to rest, Bradley sent her home while musicians laid down the track without her. A week later she returned and recorded her vocal in a single take.
"Crazy" was released as a single in October 1961, debuting on the Billboard country charts in November. It would peak at number 2 there and number 9 on the same publication's pop charts. "Crazy" would also become Cline's biggest pop hit. "Crazy" has since been called a country music standard. Cline's vocal performance and the song's production have received positive praise over time. Cub Koda of AllMusic noted the "ache" in her voice that makes the song stand out: "Cline's reading of the lyric is filled with an aching world weariness that transforms the tune into one of the first big crossover hits without even trying hard." Country music historian Paul Kingsbury also highlighted her "ache", saying in 2007, "Cline's hit recording swings with such velvety finesse, and her voice throbs and aches so exquisitely, that the entire production sounds absolutely effortless." Jhoni Jackon of Paste Magazine called the recording "iconic", highlighting the "pain" Cline had in her vocal technique. Her second studio album Patsy Cline Showcase was released in late 1961. The album featured both major hits from that year and re-recorded versions of "Walkin' After Midnight" and "A Poor Man's Roses (Or a Rich Man's Gold)".
"Crazy" and Cline's further Decca recordings have received critical praise. Mary Bufwack and Robert Oermann noted "Her thrilling voice invariably invested these with new depth. Patsy's dramatic volume control, stretched-note effects, sobs, pauses and unique ways of holding back, then bursting into full-throated phrases also breathed new life into country chestnuts like "San Antonio Rose", "Blue Moon of Kentucky" and "Half as Much". Richie Unterberger of AllMusic commented that her voice "sounded richer, more confident, and more mature, with ageless wise and vulnerable qualities that have enabled her records to maintain their appeal with subsequent generations." Kurt Wolff of Country Music the Rough Guide reported that Owen Bradley recognized potential in Cline's and once he gained studio control, he smoothed arrangements and "refine her voice into an instrument of torch-singing glory."
In November 1961, she was invited to perform as part of the Grand Ole Opry's show at Carnegie Hall in New York City. She was joined by Opry stars Minnie Pearl, Grandpa Jones, Jim Reeves, Bill Monroe, Marty Robbins, and Faron Young. Despite positive reviews, New York Journal-American columnist Dorothy Kilgallen commented, "everybody should get out of town because the hillbillies are coming!" The comment upset Cline and did not affect ticket sales. The Opry performance would later be sold out. By the end of year, Cline had won several major industry awards including "Favorite Female Vocalist" from Billboard Magazine and Cashbox Magazines "Most Programmed Female Artist". Also in 1961, Cline was back in the studio to record an upcoming album. Among the first songs she recorded was "She's Got You". Written by Hank Cochran, he pitched the song to Cline over the phone. Insisting to hear it in-person, Cochran brought the recording over to her house, along with a bottle of alcohol. Upon listening to it again, she liked the song and wanted to record it. Owen Bradley also liked the song and it was officially recorded on December 17, 1961. "She's Got You" became her third country-pop crossover hit by early 1962. "She's Got You" would also be her second number 1 hit on the Billboard country chart. It was also Cline's first entry in the United Kingdom singles chart, reaching number 43. The cover by Alma Cogan, one of Britain's most popular female artists of the 1950s, performed notably as well.
In 1962, Cline had three major hits with "When I Get Through with You", "So Wrong" and "Imagine That". Cline's career successes helped her become financially stable enough to purchase her first home. She bought a ranch house located Goodlettsville, Tennessee, a suburb of Nashville. The home was decorated by Cline and included a music room, several bedrooms and a large backyard. According to Dottie West, "the house was her mansion, the sign she'd arrived." Cline called it her "dream home" and often had friends over to visit. After her death, the house was sold to country artist Wilma Burgess. In the summer of 1962, manager Randy Hughes got her a role in a country music vehicle film. It also starred Dottie West, Webb Pierce and Sonny James. After arriving to film in DeLand, Florida, the producer had "ran off with the money", according to West. The movie was never made. In August, her third studio album Sentimentally Yours was released. It featured "She's Got You" as well as several country and pop standards. According to biographer Ellis Nassour, her royalties "were coming in slim" and she needed "financial security". Therefore, Randy Hughes arranged Cline to work at the Merri-Mint Theatre in Las Vegas, Nevada for 35 days. Cline would later dislike the experience. During the engagement, she developed a dry throat. She also was homesick and wanted to spend time with her children. By appearing at the engagement, Cline became the first female country artist to headline her own show in Las Vegas.
During this period Cline was said to have experienced premonitions of her own death. Dottie West, June Carter Cash, and Loretta Lynn recalled Cline telling them she felt a sense of impending doom and did not expect to live much longer. In letters, she would also describe the happiness of her new career successes. In January 1963, her next single "Leavin' on Your Mind" was released and debuted on the Billboard country chart soon after. In February, she recorded her final sessions for Decca Records. Among the songs recorded were "Sweet Dreams", "He Called Me Baby", and "Faded Love". Cline arranged for friends Jan Howard and Dottie West to come and hear the session playbacks. According to Howard, "I was in awe of Patsy. You know, afterward you're supposed to say something nice. I couldn't talk. I was dumbfounded."
Personal life
Friendships
Cline had close friendships with several country artists and performers. Her friendship with Loretta Lynn has been the subject of numerous books, songs, films and other projects. The pair first met when Lynn performed "I Fall to Pieces" on the radio shortly after Cline's 1961 car accident. Cline heard the broadcast and sent her husband to pick up Lynn so they could meet. According to Lynn, the pair became close friends "right away". Lynn later described their friendship in detail, "She taught me a lot about show business, like how to go on a stage and how to get off. She even bought me a lot of clothes...She even bought me curtains and drapes for my house because I was too broke to buy them...She was a great human being and a great friend." Lynn also noted they became so close that Cline even gave her underwear. Lynn still has the underwear in storage, saying it was "well-made".
Dottie West was another female country artist with whom Cline became friends. They first met backstage at the Grand Ole Opry. West wrote Cline a fan letter after hearing her first hit "Walkin' After Midnight". According to West, Cline "showed a genuine interest in her career" and they became close friends. The pair often spent time at their homes and worked on packaged tour dates together. West also stated Cline was a supportive friend who helped out in times of need.
Jan Howard was a third female artist with whom Cline had a close friendship. The pair first met when Cline tried starting an argument with Howard backstage at the Grand Ole Opry. She said to Howard, "You're a conceited little son of a bitch! You just go out there, do your spot, and leave without saying hello to anyone." Howard was upset and replied angrily back. Cline then laughed and said, "Slow down! Hoss, you're all right. Anybody that'll stand there and talk back to the Cline like that is all right...I can tell we're gonna be good friends!" The pair remained close for the remainder of Cline's life. Other friendships Cline had with female artists included Brenda Lee, Barbara Mandrell and pianist Del Wood. She also became friends with male country artists including Roger Miller, who helped Cline find material to record. Faron Young was another male artist whom Cline befriended from working on tour together. While on tour, the pair would spend time together, including a trip to Hawaii where the pair saw a hula show.
Family
Cline's mother Hilda Hensley continued living in Winchester, Virginia following her daughter's death. She rented out the family's childhood home on South Kent Street and lived across the street. Following Cline's death, Hensley briefly spent time raising her two grandchildren in Virginia. Hensley maintained a closet full of her daughter's stage costumes, including a sequined dress Cline wore while performing in Las Vegas in 1962. She worked as a seamstress and made many of her daughter's stage costumes. Hensley died from natural causes in 1998. Cline's father Samuel Hensley died of lung cancer in 1956. Hensley had previously deserted the family in 1947 and shortly before his death, Cline and her mother visited him at a hospital in Martinsburg, West Virginia. After discovering his current state, Cline said to her mother, "Mama, I know what-all he did, but it seems he's real sick and may not make it. In spite of everything, I want to visit him." Both of Cline's surviving siblings fought in court over their mother's estate. Because of legal fees, many of Cline's possessions were sold at auction.
Cline had two surviving children at the time of her death: Julie Simadore (born 1958) and Allen Randolph "Randy" (born 1961). Julie has been a significant factor in keeping her mother's legacy alive. She has appeared at numerous public appearances in support of her mother's music and career. Following the death of her father in 2015, she helped open a museum dedicated to Cline in Nashville, Tennessee. Julie has few memories of her mother due to Cline's death while she was young. In an interview with People Magazine, Julie discussed her mother's legacy, "I do understand her position in history, and the history of Nashville and country music...I'm still kind of amazed at it myself, because there's 'Mom' and then there's 'Patsy Cline,' and I'm actually a fan."
The present day American female blues, swing, and rock and roll singer, songwriter and record producer, Casey Hensley, is a distant relation of Cline's.
Marriages
Cline was married twice. Her first marriage was to Gerald Cline, on March 7, 1953. His family had owned a contracting and excavating company in Frederick, Maryland. According to Cline's brother Sam, he liked "flashy cars and women." The two met while she was performing with Bill Peer at the Moose Lodge in Brunswick, Maryland. According to Gerald Cline, "It might not have been love at first sight when Patsy saw me, but it was for me." Gerald Cline often took her to "one-nighters" and other concerts she performed in. Although he enjoyed her performances, he could not get used to her touring and road schedule. Patsy had told a friend during their marriage that she didn't think she "knew what love was" upon marrying Gerald. The pair began living separately by the end of 1956 and divorced in 1957.
Cline married her second husband Charlie Dick on September 15, 1957. The pair met in 1956 while Cline was performing with a local Virginia band. At the time, Dick was a linotype operator for local newspaper, The Winchester Star. According to Dick, he had asked Cline to dance and she replied, "I can't dance while I'm working, okay?" They eventually started spending time together and Cline began telling close friends about their relationship. Cline told Grand Ole Opry pianist Del Wood in 1956, "Hoss, I got some news. I met a boy my own age who's a hurricane in pants! Del, I'm in love, and this time, it's for real." The pair had children Julie and Randy together. Their relationship was considered both romantic and tempestuous. According to Robert Oermann and Mary Bufwack, Cline and Dick's marriage was "fueled by alcohol, argument, passion, jealousy, success, tears and laughter." According to biographer Ellis Nassour, the pair fought often but remained together. They had gained a reputation as "heavy drinkers", but according to Dick himself, they were not "drunks". During one particular fight, Cline had Dick arrested after they became physical with one another. Following Cline's death in 1963, Dick married country artist Jamey Ryan in 1965. The pair divorced in the early 1970s after having one child together. Dick helped with keeping Cline's legacy alive for the remainder of his own life. He assisted in producing several documentaries about Cline's career including Remembering Patsy and The Real Patsy Cline. He became involved with Hallway Productions in the 1990s and helped produce videos on other artists including Willie Nelson and The Mamas and the Papas. Dick died in 2015.
Death
On March 3, 1963, Cline performed a benefit at the Soldiers and Sailors Memorial Hall, Kansas City, Kansas, for the family of disc jockey "Cactus" Jack Call; he had died in an automobile crash a little over a month earlier. Also performing in the show were George Jones, George Riddle and The Jones Boys, Billy Walker, Dottie West, Wilma Lee and Stoney Cooper, George McCormick, the Clinch Mountain Boys as well as Cowboy Copas and Hawkshaw Hawkins. Despite having a cold, Cline gave three performances: 2:00, 5:15 and 8:15 pm. All the shows were standing-room only. For the 2 p.m. show, she wore a sky-blue tulle-laden dress; for the 5:15 show a red shocker; and for the closing show at 8 p.m., Cline wore white chiffon. Her final song was the last she had recorded the previous month, "I'll Sail My Ship Alone".
Cline, who had spent the night at the Town House Motor Hotel, was unable to fly out the day after the concert because Fairfax Airport was fogged in. West asked Patsy to ride in the car with her and husband, Bill, back to Nashville, a 16-hour drive, but Cline refused, saying, "Don't worry about me, Hoss. When it's my time to go, it's my time." On March 5, she called her mother from the motel and checked out at 12:30 p.m., going the short distance to the airport and boarding a Piper PA-24 Comanche plane, aircraft registration number N7000P. On board were Cline, Copas, Hawkins and pilot Randy Hughes.
The plane stopped once in Rogers, Arkansas to refuel and subsequently landed at Dyersburg Municipal Airport in Dyersburg, Tennessee at 5 p.m. Hawkins had accepted Billy Walker's place after Walker left on a commercial flight to take care of a stricken family member. The Dyersburg, Tennessee, airfield manager suggested that they stay the night because of high winds and inclement weather, offering them free rooms and meals. But Hughes, who was not trained in instrument flying, said "I've already come this far. We'll be there before you know it." The plane took off at 6:07 p.m.
Cline's flight crashed in heavy weather on the evening of Tuesday, March 5, 1963. Her recovered wristwatch had stopped at 6:20 p.m. The plane was found some from its Nashville destination, in a forest outside of Camden, Tennessee. Forensic examination concluded that everyone aboard had been killed instantly. Until the wreckage was discovered the following dawn and reported on the radio, friends and family had not given up hope. Endless calls tied up the local telephone exchanges to such a degree that other emergency calls had trouble getting through. The lights at the destination Cornelia Fort Airpark were kept on throughout the night, as reports of the missing plane were broadcast on radio and TV.
Early in the morning, Roger Miller and a friend went searching for survivors: "As fast as I could, I ran through the woods screaming their names—through the brush and the trees—and I came up over this little rise, oh, my God, there they were. It was ghastly. The plane had crashed nose down." Shortly after the bodies were removed, looters scavenged the area. Some of the items which were recovered were eventually donated to the Country Music Hall of Fame. Among them were Cline's wristwatch, a Confederate flag cigarette lighter, studded belt and three pairs of gold lamé slippers. Cline's fee in cash from the last performance was never recovered. Per her wishes, Cline's body was brought home for her memorial service, which thousands attended. People jammed against the small tent over her gold casket and the grave to take all the flowers they could reach as keepsakes. She was buried at Shenandoah Memorial Park in her hometown of Winchester, Virginia. Her grave is marked with a bronze plaque, which reads: "Virginia H. Dick ('Patsy Cline' is noted under her name) 'Death Cannot Kill What Never Dies: Love'." A memorial marks the exact place off Mt Carmel Road in Camden, Tennessee, where the plane crashed in the still-remote forest.
Posthumous releases
Music
Since Cline's death, Decca Records (later bought by MCA) has re-released her music which has made her commercially successful posthumously. The Patsy Cline Story was the first compilation album the label released following her death. It included the songs "Sweet Dreams (Of You)" and "Faded Love". Both tracks were released as singles in 1963. "Sweet Dreams" would reach number 5 on the Billboard country charts and 44 on the Hot 100. "Faded Love" would also become a top 10 hit on the Billboard country chart, peaking at number 7 in October 1963. In 1967, Decca released the compilation Patsy Cline's Greatest Hits. The album would not only peak at number 17 on the Billboard country chart, but also certified diamond in sales from the Recording Industry Association of America. In 2005, the Guinness World Book of Records included Greatest Hits for being the longest album on any record chart by any female artist.
Cline's music continued making the charts into the 1980s. Her version of "Always" made the Billboard country chart in 1980. An album of the same was also released in 1980 that peaked within the top 30 on the Billboard Top Country Albums chart. Two overdubbed duets between Cline and Jim Reeves became major hits during this time as well. Following the release of the Loretta Lynn biopic Coal Miner's Daughter (1980), there was renewed interest in Cline's career. Therefore, MCA Records reissued much of Cline's earlier studio and compilation releases. Her 1967 greatest hits album for example was repackaged in 1988 and labeled 12 Greatest Hits. The record reached number 27 on the Top Country Albums list in 1990. The soundtrack for Cline's own film biopic was released concurrently with the movie in 1985. The soundtrack would peak at number 6 on the Billboard country albums chart upon its release.
In 1991, MCA records issued her first box set entitled The Patsy Cline Collection. The album chronicled all of Cline's recorded material for Four Star and Decca Records. The boxed set received positive reviews, notably by Thom Jurek of Allmusic who rated it five out of five stars. Jurek commented, If an artist ever deserved a box set chronicling her entire career, it is Patsy Cline. Having recorded 102 sides between 1955 and her death at the age of 30 in 1963, Cline changed not only country music forever, but affected the world of pop as well. Over four CDs, arranged chronologically, the listener gets treated to a story in the development and maturation of a cultural icon who was at least, in terms of her gift, the equal of her legend. Rolling Stone listed the box set among their "50 Greatest Albums of All-Time". Writer Rob Sheffield called Cline "a badass cowgirl drama queen belts some of the torchiest, weepiest country songs ever, hitting high notes that make you sob into your margarita." The Patsy Cline Collection would reach number 29 on the Billboard country albums chart in January 1992. In 1997, MCA released Live at the Cimarron Ballroom, a rare recording that had recently resurfaced. Jeweler Bill Frazee had originally purchased a tape in 1975 which he discovered included Cline's live recording. The live performance on the record took place in July 1961, following Cline's car accident. She appeared at the Cimarron Ballroom in Tulsa, Oklahoma to give a one-night performance. Included on the record was unreleased live performances and dialog with the audience. The album peaked in the top 40 of the Billboard country albums chart. Cline's former MCA label continues releasing material to this day. Cline is listed among the Recording Industry of America's "Best Selling Artists" with a total of over 14 million records sold to date.
Film and television
Cline has been portrayed on film and television several times since the 1980s. The Loretta Lynn biopic Coal Miner's Daughter (1980) renewed interest in her life and career. Cline and Lynn's friendship was portrayed in the 1980 film. Actress Beverly D'Angelo played Cline in the movie and did her own singing of Cline's original material. D'Angelo earned a Golden Globe award nomination for her role. In an interview D'Angelo did for a 2017 PBS documentary, playing the role of Patsy Cline "had a profound impact" on her life and career.
In 1985, a feature film about Cline's life was released entitled Sweet Dreams. The film starred Jessica Lange as Cline and Ed Harris as husband Charlie Dick. Originally, Meryl Streep auditioned for Cline's role but ultimately lost to Lange. The film was produced by Bernard Schwartz, who also produced Coal Miner's Daughter. Original ideas called for scenes between Cline and Lynn, however they were ultimately removed from the final script. The film has been criticized for its lack of accuracy to Cline's own life and its musical production. Kurt Wolff wrote, "the soundtrack, however, featured overdubbed versions of Cline's material – better to stick with the originals." Mark Deming of Allmovie only gave the release two out of five stars. Deming commented, "While it's a wise approach to show how her turbulent marriage paralleled her crossover to Countrypolitan ballads, the melodrama tends to overshadow the celebrity story by relegating her rise to stardom to the background. Due to the historically dubious concerts at carnivals and fairgrounds, it appears as though she wasn't as big a star as she actually was." Deming did praise Lange's performance saying she created a "cheerful and spirited" depiction of Cline. Roger Ebert gave it two stars in his original 1985 review. Ebert said, "There isn't the sense of a well-shaped structure in this movie; there's no clear idea of what the filmmakers thought about Patsy Cline, or what thoughts her life is supposed to inspire." Lange was nominated for an Academy Award for Best Actress for her role as Cline.
Cline was also portrayed in television films. In 1995, a film about the life and career of Cline's friend Dottie West debuted on CBS titled, Big Dreams and Broken Hearts: The Dottie West Story. It included several scenes that showcased West's friendship with Cline. Actress Tere Myers played her in the television movie. Deborah Wilker of the Sun-Sentinel called her performance "terrific" and authentic.
Lifetime aired an original television film Patsy & Loretta in October 2019 on the network. It chronicles Cline's friendship with Loretta Lynn. Cline is portrayed by Megan Hilty and Lynn by Jessie Mueller. The film is directed by the Academy Award-winning screenwriter Callie Khouri. The trailer for the movie was released in July 2019. Patsy & Loretta was filmed on location in Nashville, Tennessee and is co-produced by Lynn's daughter and Cline's daughter, Julie Fudge.
There have been several documentaries made about Cline's life and career. The first was a 1989 documentary entitled The Real Patsy Cline which featured interviews with friends and fellow artists. This included Carl Perkins and Willie Nelson. Another documentary was filmed in 1994 entitled Remembering Patsy. The show was hosted by country artist Michelle Wright, who read letters Cline wrote to friends and family. It included interviews with several artists such as Roy Clark, George Jones and Trisha Yearwood. Both documentaries were produced by Cline's widower Charlie Dick. In March 2017, PBS released a documentary on Cline as part of their American Masters series. The film was narrated by Rosanne Cash and featured interviews with fans of Cline. These interviews included Beverly D'Angelo and Reba McEntire. It also included rare performances of songs such as "Three Cigarettes (In an Ashtray)" and "Walkin' After Midnight".
Plays and musicals
Cline's life and career has also been re-created in the theater sector. In 1988, the show Always...Patsy Cline premiered. The show was created by Ted Swindley who derived it from a friendship Cline had with Texas resident Louise Seger. The pair met while Cline was performing at the Esquire Ballroom in Houston, Texas. Seger brought Cline home following the show and they spent the night together. The pair would remain in contact through letters before Cline's death. Much of the script relied from letters exchanged between the two during the course of several years. Seger acts as the show's narrator and revisits memories she shared with Cline through their letter exchanges. Among the show's original performers was Mandy Barnett, who debuted the show at the Ryman Auditorium in 1994. Barnett would go on to have a music and performing career. A second musical was later released in 1991 titled A Closer Walk with Patsy Cline. The show was written by Dean Regan and has been called a "musical retelling" of Cline's career.
Artistry
Influences
Cline was influenced by various music artists. Among her earliest influences were pop singers of the 1940s and 1950s. These included Kay Starr, Helen Morgan, Patti Page, and Kate Smith. Patti Page recollected that Cline's husband said to her, "I just wish Patsy could have met you because she just adored you and listened to you all the time and wanted to be like you." Among her primary influences was Kay Starr, of whom Cline was a "fervent devotee" according to The Washington Post. Jack Hurst of the Chicago Tribune remarked that "Her rich, powerful voice, obviously influenced by that of pop's Kay Starr, has continued and perhaps even grown in popularity over the decades." Cline was also attracted to country music radio programs, notably the Grand Ole Opry. According to Mary Bufwack and Robert Oermann, Cline became "obsessed" with the program at a young age. Cline's mother Hilda Hensley commented on her daughter's admiration, "I know she never wanted anything so badly as to be a star on the Grand Ole Opry..." Among performers from the program she admired was Patsy Montana. Cline was also influenced by other types of performers including early rockabilly artist Charline Arthur.
Voice and style
Cline possessed a contralto voice. Time magazine writer Richard Corliss called her voice "bold". Her voice has also been praised for its display of emotion. Kurt Wolff called it one of the most "emotionally expressive voices in modern country music". Tony Gabrielle of the Daily Press wrote that Cline had "a voice of tremendous emotional power." Cline was at times taken by her own emotion. Husband Charlie Dick recounted that Cline's producer Owen Bradley told him to leave a recording session because she was very emotional and he didn't want to disturb the mood. Cline was once quoted in describing the emotion she felt, saying, "Oh Lord, I sing just like I hurt inside."
During her early career, Cline recorded in styles such as gospel, rockabilly, and honky-tonk. These styles she cut for Four Star Records have been considered below the quality of her later work for Decca Records. Steve Leggett of Allmusic commented, Her recordings prior to 1960, though, were something else again, and with the exception of 1956's "Walkin' After Midnight" and perhaps one or two other songs, she seemed reined in and stifled as a singer, even though she was working with the same producer, Owen Bradley, who was to produce her 1960s successes. Oh the difference a song makes, because in the end the material she recorded between 1955 and 1960 – all of which is collected on these two discs – was simply too weak for Cline to turn into anything resembling gold, even with her obvious vocal skills.
Cline's style has been largely associated with the Nashville Sound, a sub-genre of country music that linked traditional lyrics with orchestrated pop music styles. This new sound helped many of her singles to crossover onto the Billboard Hot 100 and gain a larger audience that did not always hear country music. Her producer Owen Bradley built this sound onto her Decca recordings, sensing a potential in her voice that went beyond traditional country music. At first, she resisted the pop-sounding style, but was ultimately convinced to record in this new style. Stephen M. Desuner of Pitchfork explained that Cline has been an identifiable factor with the Nashville Sound: "She essentially rewrote their songs simply by singing them, elevating their words and wringing every one of their rhymes for maximum dramatic potential." Mark Deming of Allmusic commented, "Cline and Bradley didn't invent "countrypolitan," but precious few artists managed to meld the sophistication of pop and the emotional honesty of country as brilliantly as this music accomplishes with seemingly effortless grace, and these songs still sound fresh and brilliantly crafted decades after the fact."
Image
Cline's public image changed during the course of her career. She began her career wearing cowgirl dresses and hats designed by her mother. However, as her music crossed over into pop, she began wearing sequined gowns and cocktail dresses. While she would often wear cowgirl costumes for live performances, she would also wear evening dresses for television and metropolitan performances. For her 1957 performance on Arthur Godfrey's Talent Scouts, the show's producer insisted that Cline wear an evening dress instead of the fringed cowgirl attire she had intended to wear. Her 1962 engagement at the Merri-Mint Theatre in Las Vegas represented this particular image shift. For one of her performances, Cline wore a sequined cocktail dress designed by her mother.
Cline has also been seen as a pioneer for women in country music. She has been cited as an inspiration by many performers in diverse styles of music. Kurt Wolff of Country Music: The Rough Guide said that Cline had an "aggression" and "boisterous attitude" that gained her the respect of her male counterparts. Wolff explained, "She swaggered her way past stereotypes and other forces of resistance, showing the men in charge – and the public in general – that women were more than capable of singing about such hard subjects as divorce and drinking as well as love and understanding. Sean O'Hagan of The Guardian commented that along with Minnie Pearl, Jean Shepard and Kitty Wells, Cline helped prove that country music was not "macho" and that "strong women" could have a "strong voice". In 2013, The Washington Post wrote, "she was what I call a pre-feminist woman. She didn't open doors; she kicked them down." Mary Bufwack and Robert K. Oermann wrote in 2003 that Cline "transformed what it meant to be a female country star".
Legacy
Cline has been cited in both country and pop music as of one of the greatest vocalists of all-time. Her voice has also been called "haunting", "powerful", and "emotional". Cline's emotional expression and delivery of lyrics helped influence various musical genres and artists. With the support of producer Owen Bradley, Cline has been said to "help define" the Nashville Sound style of country music. While the subgenre has received mixed opinions, it has also been said to be a significant part of country music's "authenticity", with Cline being the center focal point of the subgenre. Other artists have noted her impact, including LeAnn Rimes who stated, "I remember my dad telling me to listen to the way she told a story... I remember feeling more emotion when she sang than anyone else I had ever heard." Lucinda Williams commented on Cline's vocal talent in helping define her legacy, stating, "Even though her style is considered country, her delivery is more like a classic pop singer... That's what set her apart from Loretta Lynn or Tammy Wynette. You'd almost think she was classically trained."
Cline has been a major influence on various music artists including Reba McEntire, Loretta Lynn, LeAnn Rimes, k.d. lang, Linda Ronstadt, Trisha Yearwood, Sara Evans, Dottie West, Kacey Musgraves, Margo Price, Cyndi Lauper, Trixie Mattel and Brandi Carlile. Dottie West (also a close friend of Cline's) spoke about her influence on her own career, "I think I was most influenced by Patsy Cline, she said things for people. There was so much feeling in there. In fact, she told me, 'Hoss, if you can't do it with feeling, don't'". In 2019, Sara Evans discussed how Cline has been an influence since she was a young girl, "I learned everything I could learn about her. I tried to mimic her singing to the ‘t’. We grew up singing in bars — my brothers, sisters and I — from the time I was really little. So I started covering every Patsy Cline song. Then when I first got my record deal I came to Winchester to visit a radio station to try to get them to play my song Three Chords and the Truth."
In 1973, Cline was inducted into the Country Music Hall of Fame. With the induction, she became the first solo female artist to be included. In 1977, Cline's friend and mentee Loretta Lynn released a tribute album entitled I Remember Patsy. The record contained covers of Cline's songs, including "Back in Baby's Arms" and "Crazy". The album's lead single was "She's Got You", which would reach the number 1 spot on the Billboard country chart in 1977. In 1995, Cline received a Grammy Lifetime Achievement Award for her legacy and career. Additionally, her hits "I Fall to Pieces" and "Crazy" received inductions into the Grammy Hall of Fame.
In 1993, Cline was included on United States postal stamps as part of their "Legends" series. Other country artists that were included on stamp series were The Carter Family, Hank Williams, and Bob Wills. The stamps were dedicated in an official ceremony at the Grand Ole Opry by Postmaster General Marvin Runyon. In August 1999, Cline received a star on the Hollywood Walk of Fame. The ceremony was attended by her widower Charlie Dick and daughter Julie Fudge. During the 1990s, two of her songs were voted among the "Greatest Juke Box Hits of All-Time". "Crazy" was voted as the number 1 greatest, along with "I Fall to Pieces" ranking at number 17.
Since the late 1990s, she received additional rankings and honors. In 1999, Cline was ranked at number 11 among VH1's list of the "100 Greatest Women of Rock and Roll". In 2003, she was included by Country Music Television on their list of the "40 Greatest Women of Country Music". In 2010, Cline ranked at number 46 on Rolling Stones list of the "100 Greatest Singers of All-Time". The magazine would rank her on their 2017 list of the "100 Greatest Country Artists of All-Time", where she placed at number 12.
Forty years after her death, MCA Nashville released a tribute album entitled Remembering Patsy Cline (2003). A television special also followed around the same time. The album consisted of cover versions of songs taken from Cline's 1967 greatest hits album. It included songs covered by country artists such as Terri Clark and Martina McBride. It also featured artists from other genres such as Michelle Branch, Diana Krall and Patti Griffin.
Cline's hometown of Winchester, Virginia has helped honor her legacy and career. In 1987, the local government approved the placing of markers within the town denoting it as the birthplace of Cline. The same year, a bell tower was erected in her burial location at Shenandoah Memorial Park. The bell tower cost thirty five thousand dollars and was partially funded by Cline's friends Jan Howard and Loretta Lynn. In 2005, Cline's childhood home was given an official on-site marker and included on the National Register of Historic Places. With the development of an organization entitled Celebrating Patsy Cline Inc., renovations began on Cline's childhood home. In August 2011, the Patsy Cline House officially opened as a historic home for tours. In almost three months, about three thousand people visited the home. The home was restored to the era in which Cline lived in it during the 1950s with her mother and siblings. Replicas of furniture and stage clothes are also included. Daughter Julie Fudge spoke of the house in 2011, stating, “I think when you go into the house, you will kind of feel like this is a snapshot of what it would have been like to visit when Mom lived there.”
In 2017, the Patsy Cline Museum opened in Nashville, Tennessee, located at 119 3rd Ave. S., on the second floor in the same building as the Johnny Cash Museum. The museum includes Cline's actual stage costumes, as well as her original scrapbook and record albums. The Patsy Cline Museum features other artifacts, such as the soda fountain machine from Gaunt's Drug Store, where Cline worked as a teenager. Original letters that Cline wrote to friends are also included as part of the museum.
Discography
Studio albums
1957: Patsy Cline
1961: Patsy Cline Showcase
1962: Sentimentally Yours
Posthumous studio albums
1964: A Portrait of Patsy Cline
1964: That's How a Heartache Begins
1980: Always
References
Footnotes
Books
Further reading
Bego, Mark. I Fall to Pieces: The Music and the Life of Patsy Cline. Adams Media Corporation.
Hazen, Cindy and Mike Freeman. Love Always, Patsy. The Berkley Publishing Group.
Jones, Margaret (1998). "Patsy Cline". In The Encyclopedia of Country Music. Paul Kingsbury, Editor. New York: Oxford University Press. pp. 98–9.
Gomery, Douglas Patsy Cline: The Making of an Icon. Trafford Publishing.
External links
Celebrating Patsy Cline an official organization sponsoring several projects
Patsy Cline Home and Museum located in Winchester, Virginia
Patsy Cline recordings at the Discography of American Historical Recordings.
The Patsy Cline Plane Crash
1932 births
1963 deaths
20th-century American composers
20th-century American singers
20th-century American women singers
20th-century women composers
Accidental deaths in Tennessee
American contraltos
American country singer-songwriters
American women composers
American women country singers
American women pop singers
American women singer-songwriters
American rockabilly musicians
Country Music Hall of Fame inductees
Country musicians from Tennessee
Country musicians from Virginia
Cowgirl Hall of Fame inductees
Deaths in Tennessee
Decca Records artists
Four Star Records artists
Grammy Lifetime Achievement Award winners
Grand Ole Opry members
People from Goodlettsville, Tennessee
People from Winchester, Virginia
Rock and roll musicians
Singer-songwriters from Virginia
Torch singers
Traditional pop music singers
Victims of aviation accidents or incidents in 1963
Victims of aviation accidents or incidents in the United States
Musicians killed in aviation accidents or incidents
Singer-songwriters from Tennessee
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"Maria Theresia Löw (27 March 1809 – 30 December 1885) was a German operatic soprano and harpist. She was born in Heidelberg, Germany.\n\nAfter her musical education in Frankfurt by . A childhood friend of Richard Wagner, she first appeared at the Court Theatre in Kassel under the conductor and composer Louis Spohr. She married heldentenor Karl-August Lehmannde. Their daughters Lilli Lehmann and Marie Lehmann also became soprano singers. After separating from her husband about 1853, she took care of their vocal training. In addition to her daughters, she trained the voices of other singers of her era, working at the German Theatre in Prague where she lived from 1853.\n\nHer uncle (father of her brother) from Speyer was knighted by the Bavarian government. His daughter Amalie Löw married the politician . She died on 30 December 1885 at the age of 86 in Berlin.\n\nPublications\n Lilli Lehmann: Meine Gesangskunst. Berlin, 1902.\n Lilli Lehmann: Main Leben. Leipzig 1913, Neudruck 1977.\n\nReferences \n\n1809 births\n1885 deaths\nGerman operatic sopranos\nGerman harpists\n19th-century German women opera singers",
"MC Tha, stage name of Thaís Dayane da Silva, is a Brazilian singer and songwriter.\n\nShe was born in the neighborhood of Tiradentes, on the outskirts of the east side of São Paulo. Her parents separated when she was still a child, having a younger brother. Since childhood she liked to write poems. She grew up listening to different musical rhythms. At home, with her mother, she listened to samba, pagode and country music. When she visited her father, she listened to forró and brega.\n\nHer debut album Rito de Passá was considered one of the 25 best Brazilian albums of the second half of 2019 by the São Paulo Association of Art Critics.\n\nDiscography \n 2019: Rito de Passá\n\nReferences \n\nLiving people\nBrazilian people\nMusicians from São Paulo\nBrazilian people of African descent\nSingers from São Paulo\nBrazilian hip hop musicians\nBrazilian rappers\nAfro-Brazilian people\n1993 births"
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"She was the eldest child of seamstress Hilda Virginia (nee Patterson, 1916-1998) and blacksmith Samuel Lawrence Hensley (1889-1956)."
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When did she discover she had talent for singing?
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When did Patsy Cline discover she had talent for singing?
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Patsy Cline
|
Patsy Cline was born Virginia Patterson Hensley on September 8, 1932 in Winchester, Virginia, in the city's Memorial Hospital. She was the eldest child of seamstress Hilda Virginia (nee Patterson, 1916-1998) and blacksmith Samuel Lawrence Hensley (1889-1956). She had a brother Samuel Jr. (1939-2004) and a sister Sylvia. The family moved often before finally settling in Winchester, Virginia when Patsy was 16. Sam Hensley deserted his family in 1947, but the children's home was reportedly happy nonetheless. When Patsy was 13, she was hospitalized with a throat infection and rheumatic fever. She later said, "The fever affected my throat and when I recovered I had this booming voice like Kate Smith." Cline enrolled at John Handley High School but never attended classes. To help her mother support their family, she worked as a soda jerk at Gaunt's Drug Store and a waitress at the Triangle Diner. She watched performers through the window at the local radio station, and she asked WINC (AM) disc jockey Jimmy McCoy if she could sing on his show. Her performance in 1947 was well received and she was asked back. This led to appearances at local nightclubs wearing fringed Western outfits that her mother made from Patsy's designs. Cline performed in variety and talent shows in the Winchester and Tri-State areas, and she gained a large following through the shows and local radio appearances. Jimmy Dean was already a country star in 1954, and she became a regular with him on Connie B. Gay's Town and Country Jamboree radio show on WAVA (AM) in Arlington County, Virginia. CANNOTANSWER
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When Patsy was 13,
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Patsy Cline (born Virginia Patterson Hensley; September 8, 1932 – March 5, 1963) was an American singer. She is considered one of the most influential vocalists of the 20th century and was one of the first country music artists to successfully cross over into pop music. Cline had several major hits during her eight-year recording career, including two number-one hits on the Billboard Hot Country and Western Sides chart.
Cline's first professional performances began at the local WINC radio station when she was fifteen. In the early 1950s, Cline began appearing in a local band led by performer Bill Peer. Various local appearances led to featured performances on Connie B. Gay's Town and Country television broadcasts. It also led to the signing of her first recording contract with the Four Star label in 1954. She had minor success with her earliest Four Star singles including "A Church, a Courtroom, Then Goodbye" (1955) and "I've Loved and Lost Again" (1956). In 1957 however, Cline made her first national television appearance on Arthur Godfrey's Talent Scouts. After performing "Walkin' After Midnight", the single would become her first major hit on both the country and pop charts.
Cline's further singles with Four Star Records were unsuccessful, although she continued performing and recording. After marrying in 1957 and giving birth in 1958, she moved to Nashville, Tennessee, to further her career. Working with new manager Randy Hughes, Cline would become a member of the Grand Ole Opry and then move to Decca Records in 1960. Under the direction of producer Owen Bradley, her musical sound shifted and she achieved consistent success. The 1961 single "I Fall to Pieces" would become her first to top the Billboard country chart. As the song became a hit, Cline was severely injured in an automobile accident, which caused her to spend a month in the hospital. After she recovered, her next single release "Crazy" would also become a major hit.
Between 1962 and 1963, Cline had hits with "She's Got You", "When I Get Through with You", "So Wrong" and "Leavin' on Your Mind". She also toured and headlined shows with more frequency. In March 1963, Cline was killed in a plane crash along with country performers Cowboy Copas, Hawkshaw Hawkins and manager Randy Hughes, during a flight from Kansas City, Kansas back to Nashville.
Since her death, Cline has been cited as one of the most celebrated, respected and influential performers of the 20th century. Her music has influenced performers of various styles and genres. She has also been seen as a forerunner for women in country music, being among the first to sell records and headline concerts. In 1973, she became the first female performer to be inducted into the Country Music Hall of Fame. In the 1980s, Cline's posthumous successes continued in the mass media. She was portrayed twice in major motion pictures, including the 1985 biopic Sweet Dreams starring Jessica Lange. Several documentaries and stage shows were released during this time, including the 1988 musical Always...Patsy Cline. A 1991 box set of her recordings was issued that received critical acclaim. Her greatest hits album sold over 10 million copies in 2005. In 2011, Cline's childhood home was restored as a museum for visitors and fans to tour. In 2017, Cline’s Dream Home in Nashville, TN was placed on the Tennessee Historical Markers List by the Patsy Cline Fan Home Owners, Steven Shirey and Thomas Corritore.
Early life
Cline was born Virginia Patterson Hensley in Winchester, Virginia on September 8, 1932, to Hilda Virginia (née Patterson; 1916–1998) and Samuel Lawerence Hensley (1889–1956). Mrs. Hensley was only 16 years old at the time of Cline's birth. Sam Hensley had been married before; Cline had two half siblings (aged 12 and 15) that lived with a foster family because of their mother's death years before. After Cline, Hilda Hensley would also have Samuel Jr. (called John) and Sylvia Mae. Besides being called "Virginia" in her childhood, Cline was also referred to as "Ginny". She temporarily lived with her mother's family in Gore, Virginia before relocating many times throughout the state. In her childhood, the family relocated where Samuel Hensley, a blacksmith, could find employment, including Elkton, Staunton, and Norfolk. When the family had little money, she would find work. This included an Elkton poultry factory, where her job was to pluck and cut chickens. The family moved often before finally settling in Winchester, Virginia on South Kent Street. Cline would later report that her father sexually abused her. When confiding about the abuse to friend Loretta Lynn, Cline told her, "take this to your grave". Hilda Hensley would later report details of the abuse to producers of Cline's 1985 biopic Sweet Dreams.
At age 13, Cline was hospitalized with a throat infection and rheumatic fever. Speaking of the incident in 1957 she said, "I developed a terrible throat infection and my heart even stopped beating. The doctor put me in an oxygen tent. You might say it was my return to the living after several days that launched me as a singer. The fever affected my throat and when I recovered I had this booming voice like Kate Smith's." It was during this time she developed an interest in singing. She started performing with her mother in the local Baptist choir. Mother and daughter also performed duets at church social events. She also taught herself how to play the piano.
With the new performing opportunities, Cline's interest in singing only grew further and at the age of 14, she told her mother that she was going to audition for the local radio station. Her first radio performances began at WINC in the Winchester area. According to WINC's radio disc jockey Joltin' Jim McCoy, Cline appeared in the station's waiting room one day and asked to audition. McCoy was impressed by her audition performance, reportedly saying, "Well, if you've got nerve enough to stand before that mic and sing over the air live, I've got nerve enough to let you." While also performing on the radio, Cline also started appearing in talent contests and created a nightclub cabaret act similar to performer Helen Morgan.
Cline's mother and father had marital conflicts during her childhood and by 1947, her father deserted the family. Author Ellis Nassour of the biography Honky Tonk Angel: An Intimate Story of Patsy Cline reported Cline had a "beautiful relationship" with her mother. In his interviews with Hilda Hensley, he quoted Cline's mother in saying they "were more like sisters" than parent and child. Upon entering the ninth grade, Cline enrolled at John Handley High School in Winchester, Virginia. However, the family had trouble sustaining an income after her father's desertion. Therefore, Cline dropped out of high school to help support the family. She began working at Gaunt's Drug Store in the Winchester area as a clerk and soda jerk.
Career
1948–1953: Early career
At age 15, Cline wrote a letter to the Grand Ole Opry asking for an audition. She told local photographer Ralph Grubbs about the letter, "A friend thinks I'm crazy to send it. What do you think?" Grubbs encouraged Cline to send it. Several weeks later, she received a return letter from the Opry asking for pictures and recordings. At the same time, Gospel performer Wally Fowler headlined a concert in her hometown. Cline convinced concert employees to let her backstage where she asked Fowler for an audition. Following a successful audition, Cline's family received a call asking for her to audition for the Opry. She traveled with her mother, two siblings, and a family friend on an eight-hour journey to Nashville, Tennessee. With limited finances, they drove overnight and slept in a Nashville park the following morning. Cline auditioned for Opry performer Moon Mullican the same day. The audition was well-received and Cline expected to hear from the Opry the same day. However, she never received news and the family returned to Virginia.
By the early 1950s, Cline continued performing around the local area. In 1952, she asked to audition for local country bandleader Bill Peer. Following her audition, she began performing regularly as a member of Bill Peer's Melody Boys and Girls. The pair's relationship turned romantic, continuing an affair for several years. Nonetheless, the pair remained married to their spouses. Peer's group played primarily at the Moose Lodge in Brunswick, Maryland where she would meet her first husband, Gerald Cline. Peer encouraged her to have a more appropriate stage name. She changed her first name from Virginia to Patsy (taken from her middle name "Patterson"). She kept her new last name, Cline. Ultimately, she became professionally known as "Patsy Cline".
In August 1953, Cline was a contestant in a local country music contest. She won 100 dollars and the opportunity to perform as a regular on Connie B. Gay's Town and Country Time. The show included country stars Jimmy Dean, Roy Clark, George Hamilton IV and Billy Grammer, and was filmed in Washington D.C. and Arlington, Virginia. She was not officially added to the program's television shows until October 1955. Cline's television performances received critical acclaim. The Washington Star magazine praised her stage presence, commenting, "She creates the moods through movement of her hands and body and by the lilt of her voice, reaching way down deep in her soul to bring forth the melody. Most female country music vocalists stand motionless, sing with monotonous high-pitched nasal twang. Patsy's come up with a throaty style loaded with motion and E-motion."
1954–1960: Four Star Records
In 1954, Bill Peer created and distributed a series of demonstration tapes with Cline's voice on it. A tape was brought to the attention of Bill McCall, president of Four Star Records. On September 30, 1954, she signed a two-year recording contract with the label alongside Peer and her husband Gerald Cline. The original contract allowed Four Star to receive most of the money for the songs she recorded. Therefore, Cline received little of the royalties from the label, totaling out to 2.34 percent on her recording contract. Her first recording session took place in Nashville, Tennessee on January 5, 1955. Songs for the session were handpicked by McCall and Paul Cohen. Four Star leased the recordings to the larger Decca Records. For those reasons Owen Bradley was chosen as the session's producer, a professional relationship that would continue into the 1960s. Her first single release was 1955's "A Church, a Courtroom, Then Goodbye". Although Cline promoted it with an appearance on the Grand Ole Opry the song was not successful.
Cline recorded a variety of musical styles while recording for Four Star. This included genres such as gospel, rockabilly, traditional country and pop. Writers and music journalists have had mixed beliefs on Cline's Four Star material. Robert Oermann and Mary Bufwack of Finding Her Voice: Women in Country Music called the label's choice of material "mediocre". They also commented that Cline seemed to have "groped for her own sound on the label". Kurt Wolff of Country Music the Rough Guide commented that the music was "sturdy enough, but they only hinted at the potential that lurked inside her. Richie Unterberger of Allmusic claimed it was Cline's voice that made the Four Star material less appealing: "Circumstances were not wholly to blame for Cline's commercial failures. She would have never made it as a rockabilly singer, lacking the conviction of Wanda Jackson or the spunk of Brenda Lee. In fact, in comparison with her best work, she sounds rather stiff and ill-at-ease on most of her early singles."
Between 1955 and 1956, Cline's four singles for Four Star failed to become hits. However, she continued performing regionally, including on the Town and Country Jamboree. In 1956, she appeared on ABC's Country Music Jubilee, Ozark Jubilee. It was at one of her local performances that she met her second husband, Charlie Dick. In 1956, Cline received a call to perform on Arthur Godfrey's Talent Scouts, a national television show she had auditioned for several months prior. She accepted the offer, using her mother Hilda Hensley as her talent scout for the show. According to the show's rules, talent scouts could not be family members. For those reasons, Cline's mother lied in order to appear on the show. When Arthur Godfrey asked if Hensley had known Cline her entire life, she replied, "Yes, just about!"
Cline and Mrs. Hensley flew into LaGuardia Airport in New York City on January 18, 1957. She made her debut appearance on the program on January 21. The day of the show, she met with the show's producer Janette Davis. Cline had chosen "A Poor Man's Roses (Or a Rich Man's Gold)" to perform on the program, but Davis preferred another song she had recorded, "Walkin' After Midnight". Cline initially refused to perform it, but ultimately agreed to it. Davis also suggested Cline wear a cocktail dress instead of the cowgirl outfit created by her mother. She performed "Walkin' After Midnight" and won the program's contest that night. The song had not yet been released as a single. In order to keep up with public demand, Decca Records rush-released the song as a single on February 11. The song ultimately became Cline's breakthrough hit, peaking at number 2 on the Billboard Hot Country and Western Sides chart. The song also reached number 12 on the Billboard pop music chart. The song has since been considered a classic in country music since its release.
Music critics and writers have positively praised "Walkin' After Midnight". Mary Bufwack and Robert Oermann called the song "bluesy". Richie Unterberger noted "it's well-suited for the almost bemused aura of loneliness of the lyric." The success of "Walkin' After Midnight" brought Cline numerous appearances on shows and major networks. She continued working for Arthur Godfrey over the next several months. She also appeared on the Grand Ole Opry in February and the television program Western Ranch Party in March. The money she had earned from her numerous engagements totaled out to ten thousand dollars. Cline gave all the money to her mother, which she used to the pay the mortgage on her Winchester house. In August 1957, her debut studio album was issued via Decca Records.
Cline's follow-up singles to "Walkin' After Midnight" did not yield any success. This was partially due to the quality of material chosen for her to record. Cline was dissatisfied with the limited success following "Walkin' After Midnight". Bradley recounted how she often came to him saying, "Hoss, can't you do something? I feel like a prisoner." Around the same time, Cline was fired from her regular slot on Town and Country Jamboree. According to Connie B. Gay, she ran late for shows and "showed up with liquor on her breath". In September 1957, Cline married Charlie Dick and he was soon sent to Fort Bragg, North Carolina on a military assignment. Cline also gave birth to her first daughter Julie. In hopes of restarting her career, Cline and her family moved to Nashville, Tennessee.
1960–1961: New beginnings and car accident
Cline's professional decisions yielded more positive results by the early 1960s. Upon moving to Nashville, she signed a management deal with Randy Hughes. She originally wished to work with Hubert Long, however, he was busy managing other artists. Instead, she turned her attention to Hughes. With the help of Hughes, she began working steadier jobs. He organized fifty dollar bookings and got her multiple performances on the Grand Ole Opry. In January 1960, Cline officially became a member of the Opry. When she asked general manager Ott Devine about a membership he replied, "Patsy, if that's all you want, you're on the Opry." Also in January 1960, Cline made her final recording sessions set forth in her contract with Four Star Records. Later that year, her final singles with the label were released: "Lovesick Blues" and "Crazy Dreams". Leaving Four Star, Cline officially signed with Decca Records in late 1960, working exclusively under Bradley's direction. Insisting on receiving an advance, she received $1,000 from Bradley once she began at the label.
Her first release under Decca was 1961's "I Fall to Pieces". The song was written by newly established Nashville songwriters Hank Cochran and Harlan Howard. "I Fall to Pieces" had first been turned down by Roy Drusky and Brenda Lee before Cline cut it in November 1960. At the recording session, she worried about the song's production, particularly the background vocals performed by The Jordanaires. After much arguing between both Cline and Bradley, they negotiated that she would record "I Fall to Pieces" (a song Bradley favored) and "Lovin' in Vain" (a song she favored). Released as a single in January 1961, "I Fall to Pieces" attracted little attention upon its initial issue. In April, the song debuted on the Hot Country and Western Sides chart. By August 7, the song became her first to top the country chart. Additionally, "I Fall to Pieces" crossed over onto the Billboard Pop chart, peaking at number 12.
On June 14, 1961, Cline and her brother Sam Hensley, Jr. were involved in an automobile accident. Cline had brought her mother, sister and brother to see her new Nashville home the day before. On the day of the accident, Cline and her brother went shopping to buy material for her mother to make clothing. Upon driving home, their car was struck head-on by another vehicle. The impact threw her directly into the car windshield, causing extensive facial injuries. Among her injuries, Cline suffered a broken wrist, dislocated hip and a large cut across her forehead, barely missing her eyes. Friend Dottie West heard about the accident via the radio and rushed to the scene, helping to remove pieces of broken glass from Cline's hair. When first responders arrived, Cline insisted the driver in the other vehicle be treated first. Two of the three passengers riding in the car that struck Cline died after arriving at the hospital. When she was brought to the hospital, her injuries were life-threatening and she was not expected to live. She underwent surgery and survived. According to her husband Charlie Dick, upon waking up she said to him, "Jesus was here, Charlie. Don't worry. He took my hand and told me, 'No, not now. I have other things for you to do.'" She spent a month recovering in the hospital.
1961–1963: Career peak
Cline returned to her career six weeks after her 1961 car accident. Her first public appearance was on the Grand Ole Opry where she assured fans she would continue performing. She said to the audience that night, "You're wonderful. I'll tell you one thing: the greatest gift, I think, that you folks coulda given me was the encouragement that you gave me. Right at the very time I needed you the most, you came through with the flying-est colors. And I just want to say you'll just never know how happy you made this ol' country gal." Cline's follow-up single to "I Fall to Pieces" was the song "Crazy". It was written by Willie Nelson, whose version of the song was first heard by Dick. When Dick brought the song to Cline she did not like it. When Dick encouraged her to record "Crazy", Cline replied, "I don't care what you say. I don't like it and I ain't gonna record it. And that's that." Bradley liked the song and set the date for its recording for August 17. When Cline got to Bradley's studio, he convinced her to record it. She listened to Nelson's version of "Crazy" and decided she was going to perform it differently. Nelson's version included a spoken section that Cline removed. She cut additional material on August 17 and when she got to "Crazy", it became difficult to perform. Because Cline was still recovering from the accident, performing the song's high notes caused rib pain. Giving her time to rest, Bradley sent her home while musicians laid down the track without her. A week later she returned and recorded her vocal in a single take.
"Crazy" was released as a single in October 1961, debuting on the Billboard country charts in November. It would peak at number 2 there and number 9 on the same publication's pop charts. "Crazy" would also become Cline's biggest pop hit. "Crazy" has since been called a country music standard. Cline's vocal performance and the song's production have received positive praise over time. Cub Koda of AllMusic noted the "ache" in her voice that makes the song stand out: "Cline's reading of the lyric is filled with an aching world weariness that transforms the tune into one of the first big crossover hits without even trying hard." Country music historian Paul Kingsbury also highlighted her "ache", saying in 2007, "Cline's hit recording swings with such velvety finesse, and her voice throbs and aches so exquisitely, that the entire production sounds absolutely effortless." Jhoni Jackon of Paste Magazine called the recording "iconic", highlighting the "pain" Cline had in her vocal technique. Her second studio album Patsy Cline Showcase was released in late 1961. The album featured both major hits from that year and re-recorded versions of "Walkin' After Midnight" and "A Poor Man's Roses (Or a Rich Man's Gold)".
"Crazy" and Cline's further Decca recordings have received critical praise. Mary Bufwack and Robert Oermann noted "Her thrilling voice invariably invested these with new depth. Patsy's dramatic volume control, stretched-note effects, sobs, pauses and unique ways of holding back, then bursting into full-throated phrases also breathed new life into country chestnuts like "San Antonio Rose", "Blue Moon of Kentucky" and "Half as Much". Richie Unterberger of AllMusic commented that her voice "sounded richer, more confident, and more mature, with ageless wise and vulnerable qualities that have enabled her records to maintain their appeal with subsequent generations." Kurt Wolff of Country Music the Rough Guide reported that Owen Bradley recognized potential in Cline's and once he gained studio control, he smoothed arrangements and "refine her voice into an instrument of torch-singing glory."
In November 1961, she was invited to perform as part of the Grand Ole Opry's show at Carnegie Hall in New York City. She was joined by Opry stars Minnie Pearl, Grandpa Jones, Jim Reeves, Bill Monroe, Marty Robbins, and Faron Young. Despite positive reviews, New York Journal-American columnist Dorothy Kilgallen commented, "everybody should get out of town because the hillbillies are coming!" The comment upset Cline and did not affect ticket sales. The Opry performance would later be sold out. By the end of year, Cline had won several major industry awards including "Favorite Female Vocalist" from Billboard Magazine and Cashbox Magazines "Most Programmed Female Artist". Also in 1961, Cline was back in the studio to record an upcoming album. Among the first songs she recorded was "She's Got You". Written by Hank Cochran, he pitched the song to Cline over the phone. Insisting to hear it in-person, Cochran brought the recording over to her house, along with a bottle of alcohol. Upon listening to it again, she liked the song and wanted to record it. Owen Bradley also liked the song and it was officially recorded on December 17, 1961. "She's Got You" became her third country-pop crossover hit by early 1962. "She's Got You" would also be her second number 1 hit on the Billboard country chart. It was also Cline's first entry in the United Kingdom singles chart, reaching number 43. The cover by Alma Cogan, one of Britain's most popular female artists of the 1950s, performed notably as well.
In 1962, Cline had three major hits with "When I Get Through with You", "So Wrong" and "Imagine That". Cline's career successes helped her become financially stable enough to purchase her first home. She bought a ranch house located Goodlettsville, Tennessee, a suburb of Nashville. The home was decorated by Cline and included a music room, several bedrooms and a large backyard. According to Dottie West, "the house was her mansion, the sign she'd arrived." Cline called it her "dream home" and often had friends over to visit. After her death, the house was sold to country artist Wilma Burgess. In the summer of 1962, manager Randy Hughes got her a role in a country music vehicle film. It also starred Dottie West, Webb Pierce and Sonny James. After arriving to film in DeLand, Florida, the producer had "ran off with the money", according to West. The movie was never made. In August, her third studio album Sentimentally Yours was released. It featured "She's Got You" as well as several country and pop standards. According to biographer Ellis Nassour, her royalties "were coming in slim" and she needed "financial security". Therefore, Randy Hughes arranged Cline to work at the Merri-Mint Theatre in Las Vegas, Nevada for 35 days. Cline would later dislike the experience. During the engagement, she developed a dry throat. She also was homesick and wanted to spend time with her children. By appearing at the engagement, Cline became the first female country artist to headline her own show in Las Vegas.
During this period Cline was said to have experienced premonitions of her own death. Dottie West, June Carter Cash, and Loretta Lynn recalled Cline telling them she felt a sense of impending doom and did not expect to live much longer. In letters, she would also describe the happiness of her new career successes. In January 1963, her next single "Leavin' on Your Mind" was released and debuted on the Billboard country chart soon after. In February, she recorded her final sessions for Decca Records. Among the songs recorded were "Sweet Dreams", "He Called Me Baby", and "Faded Love". Cline arranged for friends Jan Howard and Dottie West to come and hear the session playbacks. According to Howard, "I was in awe of Patsy. You know, afterward you're supposed to say something nice. I couldn't talk. I was dumbfounded."
Personal life
Friendships
Cline had close friendships with several country artists and performers. Her friendship with Loretta Lynn has been the subject of numerous books, songs, films and other projects. The pair first met when Lynn performed "I Fall to Pieces" on the radio shortly after Cline's 1961 car accident. Cline heard the broadcast and sent her husband to pick up Lynn so they could meet. According to Lynn, the pair became close friends "right away". Lynn later described their friendship in detail, "She taught me a lot about show business, like how to go on a stage and how to get off. She even bought me a lot of clothes...She even bought me curtains and drapes for my house because I was too broke to buy them...She was a great human being and a great friend." Lynn also noted they became so close that Cline even gave her underwear. Lynn still has the underwear in storage, saying it was "well-made".
Dottie West was another female country artist with whom Cline became friends. They first met backstage at the Grand Ole Opry. West wrote Cline a fan letter after hearing her first hit "Walkin' After Midnight". According to West, Cline "showed a genuine interest in her career" and they became close friends. The pair often spent time at their homes and worked on packaged tour dates together. West also stated Cline was a supportive friend who helped out in times of need.
Jan Howard was a third female artist with whom Cline had a close friendship. The pair first met when Cline tried starting an argument with Howard backstage at the Grand Ole Opry. She said to Howard, "You're a conceited little son of a bitch! You just go out there, do your spot, and leave without saying hello to anyone." Howard was upset and replied angrily back. Cline then laughed and said, "Slow down! Hoss, you're all right. Anybody that'll stand there and talk back to the Cline like that is all right...I can tell we're gonna be good friends!" The pair remained close for the remainder of Cline's life. Other friendships Cline had with female artists included Brenda Lee, Barbara Mandrell and pianist Del Wood. She also became friends with male country artists including Roger Miller, who helped Cline find material to record. Faron Young was another male artist whom Cline befriended from working on tour together. While on tour, the pair would spend time together, including a trip to Hawaii where the pair saw a hula show.
Family
Cline's mother Hilda Hensley continued living in Winchester, Virginia following her daughter's death. She rented out the family's childhood home on South Kent Street and lived across the street. Following Cline's death, Hensley briefly spent time raising her two grandchildren in Virginia. Hensley maintained a closet full of her daughter's stage costumes, including a sequined dress Cline wore while performing in Las Vegas in 1962. She worked as a seamstress and made many of her daughter's stage costumes. Hensley died from natural causes in 1998. Cline's father Samuel Hensley died of lung cancer in 1956. Hensley had previously deserted the family in 1947 and shortly before his death, Cline and her mother visited him at a hospital in Martinsburg, West Virginia. After discovering his current state, Cline said to her mother, "Mama, I know what-all he did, but it seems he's real sick and may not make it. In spite of everything, I want to visit him." Both of Cline's surviving siblings fought in court over their mother's estate. Because of legal fees, many of Cline's possessions were sold at auction.
Cline had two surviving children at the time of her death: Julie Simadore (born 1958) and Allen Randolph "Randy" (born 1961). Julie has been a significant factor in keeping her mother's legacy alive. She has appeared at numerous public appearances in support of her mother's music and career. Following the death of her father in 2015, she helped open a museum dedicated to Cline in Nashville, Tennessee. Julie has few memories of her mother due to Cline's death while she was young. In an interview with People Magazine, Julie discussed her mother's legacy, "I do understand her position in history, and the history of Nashville and country music...I'm still kind of amazed at it myself, because there's 'Mom' and then there's 'Patsy Cline,' and I'm actually a fan."
The present day American female blues, swing, and rock and roll singer, songwriter and record producer, Casey Hensley, is a distant relation of Cline's.
Marriages
Cline was married twice. Her first marriage was to Gerald Cline, on March 7, 1953. His family had owned a contracting and excavating company in Frederick, Maryland. According to Cline's brother Sam, he liked "flashy cars and women." The two met while she was performing with Bill Peer at the Moose Lodge in Brunswick, Maryland. According to Gerald Cline, "It might not have been love at first sight when Patsy saw me, but it was for me." Gerald Cline often took her to "one-nighters" and other concerts she performed in. Although he enjoyed her performances, he could not get used to her touring and road schedule. Patsy had told a friend during their marriage that she didn't think she "knew what love was" upon marrying Gerald. The pair began living separately by the end of 1956 and divorced in 1957.
Cline married her second husband Charlie Dick on September 15, 1957. The pair met in 1956 while Cline was performing with a local Virginia band. At the time, Dick was a linotype operator for local newspaper, The Winchester Star. According to Dick, he had asked Cline to dance and she replied, "I can't dance while I'm working, okay?" They eventually started spending time together and Cline began telling close friends about their relationship. Cline told Grand Ole Opry pianist Del Wood in 1956, "Hoss, I got some news. I met a boy my own age who's a hurricane in pants! Del, I'm in love, and this time, it's for real." The pair had children Julie and Randy together. Their relationship was considered both romantic and tempestuous. According to Robert Oermann and Mary Bufwack, Cline and Dick's marriage was "fueled by alcohol, argument, passion, jealousy, success, tears and laughter." According to biographer Ellis Nassour, the pair fought often but remained together. They had gained a reputation as "heavy drinkers", but according to Dick himself, they were not "drunks". During one particular fight, Cline had Dick arrested after they became physical with one another. Following Cline's death in 1963, Dick married country artist Jamey Ryan in 1965. The pair divorced in the early 1970s after having one child together. Dick helped with keeping Cline's legacy alive for the remainder of his own life. He assisted in producing several documentaries about Cline's career including Remembering Patsy and The Real Patsy Cline. He became involved with Hallway Productions in the 1990s and helped produce videos on other artists including Willie Nelson and The Mamas and the Papas. Dick died in 2015.
Death
On March 3, 1963, Cline performed a benefit at the Soldiers and Sailors Memorial Hall, Kansas City, Kansas, for the family of disc jockey "Cactus" Jack Call; he had died in an automobile crash a little over a month earlier. Also performing in the show were George Jones, George Riddle and The Jones Boys, Billy Walker, Dottie West, Wilma Lee and Stoney Cooper, George McCormick, the Clinch Mountain Boys as well as Cowboy Copas and Hawkshaw Hawkins. Despite having a cold, Cline gave three performances: 2:00, 5:15 and 8:15 pm. All the shows were standing-room only. For the 2 p.m. show, she wore a sky-blue tulle-laden dress; for the 5:15 show a red shocker; and for the closing show at 8 p.m., Cline wore white chiffon. Her final song was the last she had recorded the previous month, "I'll Sail My Ship Alone".
Cline, who had spent the night at the Town House Motor Hotel, was unable to fly out the day after the concert because Fairfax Airport was fogged in. West asked Patsy to ride in the car with her and husband, Bill, back to Nashville, a 16-hour drive, but Cline refused, saying, "Don't worry about me, Hoss. When it's my time to go, it's my time." On March 5, she called her mother from the motel and checked out at 12:30 p.m., going the short distance to the airport and boarding a Piper PA-24 Comanche plane, aircraft registration number N7000P. On board were Cline, Copas, Hawkins and pilot Randy Hughes.
The plane stopped once in Rogers, Arkansas to refuel and subsequently landed at Dyersburg Municipal Airport in Dyersburg, Tennessee at 5 p.m. Hawkins had accepted Billy Walker's place after Walker left on a commercial flight to take care of a stricken family member. The Dyersburg, Tennessee, airfield manager suggested that they stay the night because of high winds and inclement weather, offering them free rooms and meals. But Hughes, who was not trained in instrument flying, said "I've already come this far. We'll be there before you know it." The plane took off at 6:07 p.m.
Cline's flight crashed in heavy weather on the evening of Tuesday, March 5, 1963. Her recovered wristwatch had stopped at 6:20 p.m. The plane was found some from its Nashville destination, in a forest outside of Camden, Tennessee. Forensic examination concluded that everyone aboard had been killed instantly. Until the wreckage was discovered the following dawn and reported on the radio, friends and family had not given up hope. Endless calls tied up the local telephone exchanges to such a degree that other emergency calls had trouble getting through. The lights at the destination Cornelia Fort Airpark were kept on throughout the night, as reports of the missing plane were broadcast on radio and TV.
Early in the morning, Roger Miller and a friend went searching for survivors: "As fast as I could, I ran through the woods screaming their names—through the brush and the trees—and I came up over this little rise, oh, my God, there they were. It was ghastly. The plane had crashed nose down." Shortly after the bodies were removed, looters scavenged the area. Some of the items which were recovered were eventually donated to the Country Music Hall of Fame. Among them were Cline's wristwatch, a Confederate flag cigarette lighter, studded belt and three pairs of gold lamé slippers. Cline's fee in cash from the last performance was never recovered. Per her wishes, Cline's body was brought home for her memorial service, which thousands attended. People jammed against the small tent over her gold casket and the grave to take all the flowers they could reach as keepsakes. She was buried at Shenandoah Memorial Park in her hometown of Winchester, Virginia. Her grave is marked with a bronze plaque, which reads: "Virginia H. Dick ('Patsy Cline' is noted under her name) 'Death Cannot Kill What Never Dies: Love'." A memorial marks the exact place off Mt Carmel Road in Camden, Tennessee, where the plane crashed in the still-remote forest.
Posthumous releases
Music
Since Cline's death, Decca Records (later bought by MCA) has re-released her music which has made her commercially successful posthumously. The Patsy Cline Story was the first compilation album the label released following her death. It included the songs "Sweet Dreams (Of You)" and "Faded Love". Both tracks were released as singles in 1963. "Sweet Dreams" would reach number 5 on the Billboard country charts and 44 on the Hot 100. "Faded Love" would also become a top 10 hit on the Billboard country chart, peaking at number 7 in October 1963. In 1967, Decca released the compilation Patsy Cline's Greatest Hits. The album would not only peak at number 17 on the Billboard country chart, but also certified diamond in sales from the Recording Industry Association of America. In 2005, the Guinness World Book of Records included Greatest Hits for being the longest album on any record chart by any female artist.
Cline's music continued making the charts into the 1980s. Her version of "Always" made the Billboard country chart in 1980. An album of the same was also released in 1980 that peaked within the top 30 on the Billboard Top Country Albums chart. Two overdubbed duets between Cline and Jim Reeves became major hits during this time as well. Following the release of the Loretta Lynn biopic Coal Miner's Daughter (1980), there was renewed interest in Cline's career. Therefore, MCA Records reissued much of Cline's earlier studio and compilation releases. Her 1967 greatest hits album for example was repackaged in 1988 and labeled 12 Greatest Hits. The record reached number 27 on the Top Country Albums list in 1990. The soundtrack for Cline's own film biopic was released concurrently with the movie in 1985. The soundtrack would peak at number 6 on the Billboard country albums chart upon its release.
In 1991, MCA records issued her first box set entitled The Patsy Cline Collection. The album chronicled all of Cline's recorded material for Four Star and Decca Records. The boxed set received positive reviews, notably by Thom Jurek of Allmusic who rated it five out of five stars. Jurek commented, If an artist ever deserved a box set chronicling her entire career, it is Patsy Cline. Having recorded 102 sides between 1955 and her death at the age of 30 in 1963, Cline changed not only country music forever, but affected the world of pop as well. Over four CDs, arranged chronologically, the listener gets treated to a story in the development and maturation of a cultural icon who was at least, in terms of her gift, the equal of her legend. Rolling Stone listed the box set among their "50 Greatest Albums of All-Time". Writer Rob Sheffield called Cline "a badass cowgirl drama queen belts some of the torchiest, weepiest country songs ever, hitting high notes that make you sob into your margarita." The Patsy Cline Collection would reach number 29 on the Billboard country albums chart in January 1992. In 1997, MCA released Live at the Cimarron Ballroom, a rare recording that had recently resurfaced. Jeweler Bill Frazee had originally purchased a tape in 1975 which he discovered included Cline's live recording. The live performance on the record took place in July 1961, following Cline's car accident. She appeared at the Cimarron Ballroom in Tulsa, Oklahoma to give a one-night performance. Included on the record was unreleased live performances and dialog with the audience. The album peaked in the top 40 of the Billboard country albums chart. Cline's former MCA label continues releasing material to this day. Cline is listed among the Recording Industry of America's "Best Selling Artists" with a total of over 14 million records sold to date.
Film and television
Cline has been portrayed on film and television several times since the 1980s. The Loretta Lynn biopic Coal Miner's Daughter (1980) renewed interest in her life and career. Cline and Lynn's friendship was portrayed in the 1980 film. Actress Beverly D'Angelo played Cline in the movie and did her own singing of Cline's original material. D'Angelo earned a Golden Globe award nomination for her role. In an interview D'Angelo did for a 2017 PBS documentary, playing the role of Patsy Cline "had a profound impact" on her life and career.
In 1985, a feature film about Cline's life was released entitled Sweet Dreams. The film starred Jessica Lange as Cline and Ed Harris as husband Charlie Dick. Originally, Meryl Streep auditioned for Cline's role but ultimately lost to Lange. The film was produced by Bernard Schwartz, who also produced Coal Miner's Daughter. Original ideas called for scenes between Cline and Lynn, however they were ultimately removed from the final script. The film has been criticized for its lack of accuracy to Cline's own life and its musical production. Kurt Wolff wrote, "the soundtrack, however, featured overdubbed versions of Cline's material – better to stick with the originals." Mark Deming of Allmovie only gave the release two out of five stars. Deming commented, "While it's a wise approach to show how her turbulent marriage paralleled her crossover to Countrypolitan ballads, the melodrama tends to overshadow the celebrity story by relegating her rise to stardom to the background. Due to the historically dubious concerts at carnivals and fairgrounds, it appears as though she wasn't as big a star as she actually was." Deming did praise Lange's performance saying she created a "cheerful and spirited" depiction of Cline. Roger Ebert gave it two stars in his original 1985 review. Ebert said, "There isn't the sense of a well-shaped structure in this movie; there's no clear idea of what the filmmakers thought about Patsy Cline, or what thoughts her life is supposed to inspire." Lange was nominated for an Academy Award for Best Actress for her role as Cline.
Cline was also portrayed in television films. In 1995, a film about the life and career of Cline's friend Dottie West debuted on CBS titled, Big Dreams and Broken Hearts: The Dottie West Story. It included several scenes that showcased West's friendship with Cline. Actress Tere Myers played her in the television movie. Deborah Wilker of the Sun-Sentinel called her performance "terrific" and authentic.
Lifetime aired an original television film Patsy & Loretta in October 2019 on the network. It chronicles Cline's friendship with Loretta Lynn. Cline is portrayed by Megan Hilty and Lynn by Jessie Mueller. The film is directed by the Academy Award-winning screenwriter Callie Khouri. The trailer for the movie was released in July 2019. Patsy & Loretta was filmed on location in Nashville, Tennessee and is co-produced by Lynn's daughter and Cline's daughter, Julie Fudge.
There have been several documentaries made about Cline's life and career. The first was a 1989 documentary entitled The Real Patsy Cline which featured interviews with friends and fellow artists. This included Carl Perkins and Willie Nelson. Another documentary was filmed in 1994 entitled Remembering Patsy. The show was hosted by country artist Michelle Wright, who read letters Cline wrote to friends and family. It included interviews with several artists such as Roy Clark, George Jones and Trisha Yearwood. Both documentaries were produced by Cline's widower Charlie Dick. In March 2017, PBS released a documentary on Cline as part of their American Masters series. The film was narrated by Rosanne Cash and featured interviews with fans of Cline. These interviews included Beverly D'Angelo and Reba McEntire. It also included rare performances of songs such as "Three Cigarettes (In an Ashtray)" and "Walkin' After Midnight".
Plays and musicals
Cline's life and career has also been re-created in the theater sector. In 1988, the show Always...Patsy Cline premiered. The show was created by Ted Swindley who derived it from a friendship Cline had with Texas resident Louise Seger. The pair met while Cline was performing at the Esquire Ballroom in Houston, Texas. Seger brought Cline home following the show and they spent the night together. The pair would remain in contact through letters before Cline's death. Much of the script relied from letters exchanged between the two during the course of several years. Seger acts as the show's narrator and revisits memories she shared with Cline through their letter exchanges. Among the show's original performers was Mandy Barnett, who debuted the show at the Ryman Auditorium in 1994. Barnett would go on to have a music and performing career. A second musical was later released in 1991 titled A Closer Walk with Patsy Cline. The show was written by Dean Regan and has been called a "musical retelling" of Cline's career.
Artistry
Influences
Cline was influenced by various music artists. Among her earliest influences were pop singers of the 1940s and 1950s. These included Kay Starr, Helen Morgan, Patti Page, and Kate Smith. Patti Page recollected that Cline's husband said to her, "I just wish Patsy could have met you because she just adored you and listened to you all the time and wanted to be like you." Among her primary influences was Kay Starr, of whom Cline was a "fervent devotee" according to The Washington Post. Jack Hurst of the Chicago Tribune remarked that "Her rich, powerful voice, obviously influenced by that of pop's Kay Starr, has continued and perhaps even grown in popularity over the decades." Cline was also attracted to country music radio programs, notably the Grand Ole Opry. According to Mary Bufwack and Robert Oermann, Cline became "obsessed" with the program at a young age. Cline's mother Hilda Hensley commented on her daughter's admiration, "I know she never wanted anything so badly as to be a star on the Grand Ole Opry..." Among performers from the program she admired was Patsy Montana. Cline was also influenced by other types of performers including early rockabilly artist Charline Arthur.
Voice and style
Cline possessed a contralto voice. Time magazine writer Richard Corliss called her voice "bold". Her voice has also been praised for its display of emotion. Kurt Wolff called it one of the most "emotionally expressive voices in modern country music". Tony Gabrielle of the Daily Press wrote that Cline had "a voice of tremendous emotional power." Cline was at times taken by her own emotion. Husband Charlie Dick recounted that Cline's producer Owen Bradley told him to leave a recording session because she was very emotional and he didn't want to disturb the mood. Cline was once quoted in describing the emotion she felt, saying, "Oh Lord, I sing just like I hurt inside."
During her early career, Cline recorded in styles such as gospel, rockabilly, and honky-tonk. These styles she cut for Four Star Records have been considered below the quality of her later work for Decca Records. Steve Leggett of Allmusic commented, Her recordings prior to 1960, though, were something else again, and with the exception of 1956's "Walkin' After Midnight" and perhaps one or two other songs, she seemed reined in and stifled as a singer, even though she was working with the same producer, Owen Bradley, who was to produce her 1960s successes. Oh the difference a song makes, because in the end the material she recorded between 1955 and 1960 – all of which is collected on these two discs – was simply too weak for Cline to turn into anything resembling gold, even with her obvious vocal skills.
Cline's style has been largely associated with the Nashville Sound, a sub-genre of country music that linked traditional lyrics with orchestrated pop music styles. This new sound helped many of her singles to crossover onto the Billboard Hot 100 and gain a larger audience that did not always hear country music. Her producer Owen Bradley built this sound onto her Decca recordings, sensing a potential in her voice that went beyond traditional country music. At first, she resisted the pop-sounding style, but was ultimately convinced to record in this new style. Stephen M. Desuner of Pitchfork explained that Cline has been an identifiable factor with the Nashville Sound: "She essentially rewrote their songs simply by singing them, elevating their words and wringing every one of their rhymes for maximum dramatic potential." Mark Deming of Allmusic commented, "Cline and Bradley didn't invent "countrypolitan," but precious few artists managed to meld the sophistication of pop and the emotional honesty of country as brilliantly as this music accomplishes with seemingly effortless grace, and these songs still sound fresh and brilliantly crafted decades after the fact."
Image
Cline's public image changed during the course of her career. She began her career wearing cowgirl dresses and hats designed by her mother. However, as her music crossed over into pop, she began wearing sequined gowns and cocktail dresses. While she would often wear cowgirl costumes for live performances, she would also wear evening dresses for television and metropolitan performances. For her 1957 performance on Arthur Godfrey's Talent Scouts, the show's producer insisted that Cline wear an evening dress instead of the fringed cowgirl attire she had intended to wear. Her 1962 engagement at the Merri-Mint Theatre in Las Vegas represented this particular image shift. For one of her performances, Cline wore a sequined cocktail dress designed by her mother.
Cline has also been seen as a pioneer for women in country music. She has been cited as an inspiration by many performers in diverse styles of music. Kurt Wolff of Country Music: The Rough Guide said that Cline had an "aggression" and "boisterous attitude" that gained her the respect of her male counterparts. Wolff explained, "She swaggered her way past stereotypes and other forces of resistance, showing the men in charge – and the public in general – that women were more than capable of singing about such hard subjects as divorce and drinking as well as love and understanding. Sean O'Hagan of The Guardian commented that along with Minnie Pearl, Jean Shepard and Kitty Wells, Cline helped prove that country music was not "macho" and that "strong women" could have a "strong voice". In 2013, The Washington Post wrote, "she was what I call a pre-feminist woman. She didn't open doors; she kicked them down." Mary Bufwack and Robert K. Oermann wrote in 2003 that Cline "transformed what it meant to be a female country star".
Legacy
Cline has been cited in both country and pop music as of one of the greatest vocalists of all-time. Her voice has also been called "haunting", "powerful", and "emotional". Cline's emotional expression and delivery of lyrics helped influence various musical genres and artists. With the support of producer Owen Bradley, Cline has been said to "help define" the Nashville Sound style of country music. While the subgenre has received mixed opinions, it has also been said to be a significant part of country music's "authenticity", with Cline being the center focal point of the subgenre. Other artists have noted her impact, including LeAnn Rimes who stated, "I remember my dad telling me to listen to the way she told a story... I remember feeling more emotion when she sang than anyone else I had ever heard." Lucinda Williams commented on Cline's vocal talent in helping define her legacy, stating, "Even though her style is considered country, her delivery is more like a classic pop singer... That's what set her apart from Loretta Lynn or Tammy Wynette. You'd almost think she was classically trained."
Cline has been a major influence on various music artists including Reba McEntire, Loretta Lynn, LeAnn Rimes, k.d. lang, Linda Ronstadt, Trisha Yearwood, Sara Evans, Dottie West, Kacey Musgraves, Margo Price, Cyndi Lauper, Trixie Mattel and Brandi Carlile. Dottie West (also a close friend of Cline's) spoke about her influence on her own career, "I think I was most influenced by Patsy Cline, she said things for people. There was so much feeling in there. In fact, she told me, 'Hoss, if you can't do it with feeling, don't'". In 2019, Sara Evans discussed how Cline has been an influence since she was a young girl, "I learned everything I could learn about her. I tried to mimic her singing to the ‘t’. We grew up singing in bars — my brothers, sisters and I — from the time I was really little. So I started covering every Patsy Cline song. Then when I first got my record deal I came to Winchester to visit a radio station to try to get them to play my song Three Chords and the Truth."
In 1973, Cline was inducted into the Country Music Hall of Fame. With the induction, she became the first solo female artist to be included. In 1977, Cline's friend and mentee Loretta Lynn released a tribute album entitled I Remember Patsy. The record contained covers of Cline's songs, including "Back in Baby's Arms" and "Crazy". The album's lead single was "She's Got You", which would reach the number 1 spot on the Billboard country chart in 1977. In 1995, Cline received a Grammy Lifetime Achievement Award for her legacy and career. Additionally, her hits "I Fall to Pieces" and "Crazy" received inductions into the Grammy Hall of Fame.
In 1993, Cline was included on United States postal stamps as part of their "Legends" series. Other country artists that were included on stamp series were The Carter Family, Hank Williams, and Bob Wills. The stamps were dedicated in an official ceremony at the Grand Ole Opry by Postmaster General Marvin Runyon. In August 1999, Cline received a star on the Hollywood Walk of Fame. The ceremony was attended by her widower Charlie Dick and daughter Julie Fudge. During the 1990s, two of her songs were voted among the "Greatest Juke Box Hits of All-Time". "Crazy" was voted as the number 1 greatest, along with "I Fall to Pieces" ranking at number 17.
Since the late 1990s, she received additional rankings and honors. In 1999, Cline was ranked at number 11 among VH1's list of the "100 Greatest Women of Rock and Roll". In 2003, she was included by Country Music Television on their list of the "40 Greatest Women of Country Music". In 2010, Cline ranked at number 46 on Rolling Stones list of the "100 Greatest Singers of All-Time". The magazine would rank her on their 2017 list of the "100 Greatest Country Artists of All-Time", where she placed at number 12.
Forty years after her death, MCA Nashville released a tribute album entitled Remembering Patsy Cline (2003). A television special also followed around the same time. The album consisted of cover versions of songs taken from Cline's 1967 greatest hits album. It included songs covered by country artists such as Terri Clark and Martina McBride. It also featured artists from other genres such as Michelle Branch, Diana Krall and Patti Griffin.
Cline's hometown of Winchester, Virginia has helped honor her legacy and career. In 1987, the local government approved the placing of markers within the town denoting it as the birthplace of Cline. The same year, a bell tower was erected in her burial location at Shenandoah Memorial Park. The bell tower cost thirty five thousand dollars and was partially funded by Cline's friends Jan Howard and Loretta Lynn. In 2005, Cline's childhood home was given an official on-site marker and included on the National Register of Historic Places. With the development of an organization entitled Celebrating Patsy Cline Inc., renovations began on Cline's childhood home. In August 2011, the Patsy Cline House officially opened as a historic home for tours. In almost three months, about three thousand people visited the home. The home was restored to the era in which Cline lived in it during the 1950s with her mother and siblings. Replicas of furniture and stage clothes are also included. Daughter Julie Fudge spoke of the house in 2011, stating, “I think when you go into the house, you will kind of feel like this is a snapshot of what it would have been like to visit when Mom lived there.”
In 2017, the Patsy Cline Museum opened in Nashville, Tennessee, located at 119 3rd Ave. S., on the second floor in the same building as the Johnny Cash Museum. The museum includes Cline's actual stage costumes, as well as her original scrapbook and record albums. The Patsy Cline Museum features other artifacts, such as the soda fountain machine from Gaunt's Drug Store, where Cline worked as a teenager. Original letters that Cline wrote to friends are also included as part of the museum.
Discography
Studio albums
1957: Patsy Cline
1961: Patsy Cline Showcase
1962: Sentimentally Yours
Posthumous studio albums
1964: A Portrait of Patsy Cline
1964: That's How a Heartache Begins
1980: Always
References
Footnotes
Books
Further reading
Bego, Mark. I Fall to Pieces: The Music and the Life of Patsy Cline. Adams Media Corporation.
Hazen, Cindy and Mike Freeman. Love Always, Patsy. The Berkley Publishing Group.
Jones, Margaret (1998). "Patsy Cline". In The Encyclopedia of Country Music. Paul Kingsbury, Editor. New York: Oxford University Press. pp. 98–9.
Gomery, Douglas Patsy Cline: The Making of an Icon. Trafford Publishing.
External links
Celebrating Patsy Cline an official organization sponsoring several projects
Patsy Cline Home and Museum located in Winchester, Virginia
Patsy Cline recordings at the Discography of American Historical Recordings.
The Patsy Cline Plane Crash
1932 births
1963 deaths
20th-century American composers
20th-century American singers
20th-century American women singers
20th-century women composers
Accidental deaths in Tennessee
American contraltos
American country singer-songwriters
American women composers
American women country singers
American women pop singers
American women singer-songwriters
American rockabilly musicians
Country Music Hall of Fame inductees
Country musicians from Tennessee
Country musicians from Virginia
Cowgirl Hall of Fame inductees
Deaths in Tennessee
Decca Records artists
Four Star Records artists
Grammy Lifetime Achievement Award winners
Grand Ole Opry members
People from Goodlettsville, Tennessee
People from Winchester, Virginia
Rock and roll musicians
Singer-songwriters from Virginia
Torch singers
Traditional pop music singers
Victims of aviation accidents or incidents in 1963
Victims of aviation accidents or incidents in the United States
Musicians killed in aviation accidents or incidents
Singer-songwriters from Tennessee
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"Vilma Degischer (17 November 1911 - 3 May 1992) was an Austrian theatre and film actress. She appeared in more than thirty films from 1931 to 1991. From 1931 to 1991 she played at the Theater in der Josefstadt in Vienna.\n\nEarly life\nAfter she attended school she had originally wanted to be a dancer, and had been taught by Gertrud Bodenwieser. Only then did she discover she had a talent for acting.\n\nFilmography\n\nReferences\n\nExternal links\n \n\n1911 births\n1992 deaths\nActresses from Vienna\nAustrian film actresses\nAustrian stage actresses\n20th-century Austrian actresses",
"Curtain Up is a children's novel about a theatrical family by British author Noel Streatfeild. It was first published in 1944. To remind potential readers of Streatfeild's highly successful first novel, Ballet Shoes, it is often retitled Theatre Shoes, or Theater Shoes in the US. A number of Streatfeild's children's novels have undergone similar retitling.\n\nPlot introduction\nCurtain Up recounts the story of three siblings: Sorrel, Mark, and Holly Forbes. After their widowed father is reported missing during the war, and his father (their grandfather) dies, the children go to live in London with their grandmother on their mother's side, a retired actress. She sends them to the Children's Academy for Dancing and Stage Training, much against their will.\n\nHowever, it is clear that the stage is in their blood, as they discover talents they never knew they had: Sorrel shines at acting, Mark at singing, and Holly at dancing and impressions.\n\nThe book also involves the Fossil sisters from Streatfeild's Ballet Shoes, as each Fossil girl provides each of the Forbes children with a scholarship to cover school expenses. Pauline sponsors Sorrel, Petrova, Mark, and Posy, Holly. The Fossil girls also exchange letters with the Forbes children, although when Miriam, the Forbes' cousin and another student at the school, shows herself to be an exceptionally talented dancer, Posy decides to sponsor her, as well, and to communicate with Miriam instead of with Holly. From these letters we learn that Pauline and Posy have made careers for themselves in Hollywood, after Posy and her teacher had to leave Czechoslovakia due to the war.\n\nCharacters \nSorrel Forbes - Sorrel is the eldest and has the Warren talent for acting. She normally has her hair in plaits and is determined for Mark to become an admiral. Pauline writes to her after she is given her scholarship.\nShe is a responsible character portraying this throughout looking after her siblings. She did not know she was good at acting but aspires to become an actress by the end of the book. Throughout the story, she often has to compete for parts with her cousin Miranda. \n\nMark Forbes - Mark is originally reluctant to become a stage performer but shines at singing. He doesn't like it when his family are called \"Warren\" and defends the Forbes name. By the end of the book, he is heading back to his old boarding school, Wilton House. Petrova writes to him after his sisters are given Fossil scholarships. He aspires to be a sailor as he says that's what his father wanted, he hates singing, in spite his talent, and often asks for money from people if they want him to sing. \n\nHolly Forbes - Holly is the youngest and most childish, and was watched in the hope that she might shine at dancing but it's soon discovered she does not have the talent Posy Fossil was looking for. However, she does have a talent for impressions (something Posy was known for in Ballet Shoes). For part of the book she is jealous of her cousin Miriam's attaché case and goes as far to take one belonging to Miranda, her other cousin, and persuades herself that it was lent. At first Posy writes to her, but stops after Miriam's talent is discovered, though she still gives her a scholarship after Madame asks so she does not hurt Holly's feelings.\n\nAllusions to other works\nAlthough not a true sequel, this novel contains references to the now-adult Fossil girls from Ballet Shoes, and the Forbes children attend the same school.\n\nOne of Sorrel's acting roles is Ariel in The Tempest.\n\nFootnotes\n\nReferences\n\nNoel Streatfeild: Curtain Up\nCurtain Up at FantasticFiction\n\n1944 British novels\nBritish children's novels\nNovels about actors\nNovels set in London\nJ. M. Dent books\n1944 children's books"
] |
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"Was she musical from childhood?",
"She was the eldest child of seamstress Hilda Virginia (nee Patterson, 1916-1998) and blacksmith Samuel Lawrence Hensley (1889-1956).",
"When did she discover she had talent for singing?",
"When Patsy was 13,"
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C_eb67cd934c274c28837e9c932e60a6af_1
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When did she start singing professionally?
| 3 |
When did Patsy Cline start singing professionally?
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Patsy Cline
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Patsy Cline was born Virginia Patterson Hensley on September 8, 1932 in Winchester, Virginia, in the city's Memorial Hospital. She was the eldest child of seamstress Hilda Virginia (nee Patterson, 1916-1998) and blacksmith Samuel Lawrence Hensley (1889-1956). She had a brother Samuel Jr. (1939-2004) and a sister Sylvia. The family moved often before finally settling in Winchester, Virginia when Patsy was 16. Sam Hensley deserted his family in 1947, but the children's home was reportedly happy nonetheless. When Patsy was 13, she was hospitalized with a throat infection and rheumatic fever. She later said, "The fever affected my throat and when I recovered I had this booming voice like Kate Smith." Cline enrolled at John Handley High School but never attended classes. To help her mother support their family, she worked as a soda jerk at Gaunt's Drug Store and a waitress at the Triangle Diner. She watched performers through the window at the local radio station, and she asked WINC (AM) disc jockey Jimmy McCoy if she could sing on his show. Her performance in 1947 was well received and she was asked back. This led to appearances at local nightclubs wearing fringed Western outfits that her mother made from Patsy's designs. Cline performed in variety and talent shows in the Winchester and Tri-State areas, and she gained a large following through the shows and local radio appearances. Jimmy Dean was already a country star in 1954, and she became a regular with him on Connie B. Gay's Town and Country Jamboree radio show on WAVA (AM) in Arlington County, Virginia. CANNOTANSWER
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she asked WINC (AM) disc jockey Jimmy McCoy if she could sing on his show. Her performance in 1947 was well received
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Patsy Cline (born Virginia Patterson Hensley; September 8, 1932 – March 5, 1963) was an American singer. She is considered one of the most influential vocalists of the 20th century and was one of the first country music artists to successfully cross over into pop music. Cline had several major hits during her eight-year recording career, including two number-one hits on the Billboard Hot Country and Western Sides chart.
Cline's first professional performances began at the local WINC radio station when she was fifteen. In the early 1950s, Cline began appearing in a local band led by performer Bill Peer. Various local appearances led to featured performances on Connie B. Gay's Town and Country television broadcasts. It also led to the signing of her first recording contract with the Four Star label in 1954. She had minor success with her earliest Four Star singles including "A Church, a Courtroom, Then Goodbye" (1955) and "I've Loved and Lost Again" (1956). In 1957 however, Cline made her first national television appearance on Arthur Godfrey's Talent Scouts. After performing "Walkin' After Midnight", the single would become her first major hit on both the country and pop charts.
Cline's further singles with Four Star Records were unsuccessful, although she continued performing and recording. After marrying in 1957 and giving birth in 1958, she moved to Nashville, Tennessee, to further her career. Working with new manager Randy Hughes, Cline would become a member of the Grand Ole Opry and then move to Decca Records in 1960. Under the direction of producer Owen Bradley, her musical sound shifted and she achieved consistent success. The 1961 single "I Fall to Pieces" would become her first to top the Billboard country chart. As the song became a hit, Cline was severely injured in an automobile accident, which caused her to spend a month in the hospital. After she recovered, her next single release "Crazy" would also become a major hit.
Between 1962 and 1963, Cline had hits with "She's Got You", "When I Get Through with You", "So Wrong" and "Leavin' on Your Mind". She also toured and headlined shows with more frequency. In March 1963, Cline was killed in a plane crash along with country performers Cowboy Copas, Hawkshaw Hawkins and manager Randy Hughes, during a flight from Kansas City, Kansas back to Nashville.
Since her death, Cline has been cited as one of the most celebrated, respected and influential performers of the 20th century. Her music has influenced performers of various styles and genres. She has also been seen as a forerunner for women in country music, being among the first to sell records and headline concerts. In 1973, she became the first female performer to be inducted into the Country Music Hall of Fame. In the 1980s, Cline's posthumous successes continued in the mass media. She was portrayed twice in major motion pictures, including the 1985 biopic Sweet Dreams starring Jessica Lange. Several documentaries and stage shows were released during this time, including the 1988 musical Always...Patsy Cline. A 1991 box set of her recordings was issued that received critical acclaim. Her greatest hits album sold over 10 million copies in 2005. In 2011, Cline's childhood home was restored as a museum for visitors and fans to tour. In 2017, Cline’s Dream Home in Nashville, TN was placed on the Tennessee Historical Markers List by the Patsy Cline Fan Home Owners, Steven Shirey and Thomas Corritore.
Early life
Cline was born Virginia Patterson Hensley in Winchester, Virginia on September 8, 1932, to Hilda Virginia (née Patterson; 1916–1998) and Samuel Lawerence Hensley (1889–1956). Mrs. Hensley was only 16 years old at the time of Cline's birth. Sam Hensley had been married before; Cline had two half siblings (aged 12 and 15) that lived with a foster family because of their mother's death years before. After Cline, Hilda Hensley would also have Samuel Jr. (called John) and Sylvia Mae. Besides being called "Virginia" in her childhood, Cline was also referred to as "Ginny". She temporarily lived with her mother's family in Gore, Virginia before relocating many times throughout the state. In her childhood, the family relocated where Samuel Hensley, a blacksmith, could find employment, including Elkton, Staunton, and Norfolk. When the family had little money, she would find work. This included an Elkton poultry factory, where her job was to pluck and cut chickens. The family moved often before finally settling in Winchester, Virginia on South Kent Street. Cline would later report that her father sexually abused her. When confiding about the abuse to friend Loretta Lynn, Cline told her, "take this to your grave". Hilda Hensley would later report details of the abuse to producers of Cline's 1985 biopic Sweet Dreams.
At age 13, Cline was hospitalized with a throat infection and rheumatic fever. Speaking of the incident in 1957 she said, "I developed a terrible throat infection and my heart even stopped beating. The doctor put me in an oxygen tent. You might say it was my return to the living after several days that launched me as a singer. The fever affected my throat and when I recovered I had this booming voice like Kate Smith's." It was during this time she developed an interest in singing. She started performing with her mother in the local Baptist choir. Mother and daughter also performed duets at church social events. She also taught herself how to play the piano.
With the new performing opportunities, Cline's interest in singing only grew further and at the age of 14, she told her mother that she was going to audition for the local radio station. Her first radio performances began at WINC in the Winchester area. According to WINC's radio disc jockey Joltin' Jim McCoy, Cline appeared in the station's waiting room one day and asked to audition. McCoy was impressed by her audition performance, reportedly saying, "Well, if you've got nerve enough to stand before that mic and sing over the air live, I've got nerve enough to let you." While also performing on the radio, Cline also started appearing in talent contests and created a nightclub cabaret act similar to performer Helen Morgan.
Cline's mother and father had marital conflicts during her childhood and by 1947, her father deserted the family. Author Ellis Nassour of the biography Honky Tonk Angel: An Intimate Story of Patsy Cline reported Cline had a "beautiful relationship" with her mother. In his interviews with Hilda Hensley, he quoted Cline's mother in saying they "were more like sisters" than parent and child. Upon entering the ninth grade, Cline enrolled at John Handley High School in Winchester, Virginia. However, the family had trouble sustaining an income after her father's desertion. Therefore, Cline dropped out of high school to help support the family. She began working at Gaunt's Drug Store in the Winchester area as a clerk and soda jerk.
Career
1948–1953: Early career
At age 15, Cline wrote a letter to the Grand Ole Opry asking for an audition. She told local photographer Ralph Grubbs about the letter, "A friend thinks I'm crazy to send it. What do you think?" Grubbs encouraged Cline to send it. Several weeks later, she received a return letter from the Opry asking for pictures and recordings. At the same time, Gospel performer Wally Fowler headlined a concert in her hometown. Cline convinced concert employees to let her backstage where she asked Fowler for an audition. Following a successful audition, Cline's family received a call asking for her to audition for the Opry. She traveled with her mother, two siblings, and a family friend on an eight-hour journey to Nashville, Tennessee. With limited finances, they drove overnight and slept in a Nashville park the following morning. Cline auditioned for Opry performer Moon Mullican the same day. The audition was well-received and Cline expected to hear from the Opry the same day. However, she never received news and the family returned to Virginia.
By the early 1950s, Cline continued performing around the local area. In 1952, she asked to audition for local country bandleader Bill Peer. Following her audition, she began performing regularly as a member of Bill Peer's Melody Boys and Girls. The pair's relationship turned romantic, continuing an affair for several years. Nonetheless, the pair remained married to their spouses. Peer's group played primarily at the Moose Lodge in Brunswick, Maryland where she would meet her first husband, Gerald Cline. Peer encouraged her to have a more appropriate stage name. She changed her first name from Virginia to Patsy (taken from her middle name "Patterson"). She kept her new last name, Cline. Ultimately, she became professionally known as "Patsy Cline".
In August 1953, Cline was a contestant in a local country music contest. She won 100 dollars and the opportunity to perform as a regular on Connie B. Gay's Town and Country Time. The show included country stars Jimmy Dean, Roy Clark, George Hamilton IV and Billy Grammer, and was filmed in Washington D.C. and Arlington, Virginia. She was not officially added to the program's television shows until October 1955. Cline's television performances received critical acclaim. The Washington Star magazine praised her stage presence, commenting, "She creates the moods through movement of her hands and body and by the lilt of her voice, reaching way down deep in her soul to bring forth the melody. Most female country music vocalists stand motionless, sing with monotonous high-pitched nasal twang. Patsy's come up with a throaty style loaded with motion and E-motion."
1954–1960: Four Star Records
In 1954, Bill Peer created and distributed a series of demonstration tapes with Cline's voice on it. A tape was brought to the attention of Bill McCall, president of Four Star Records. On September 30, 1954, she signed a two-year recording contract with the label alongside Peer and her husband Gerald Cline. The original contract allowed Four Star to receive most of the money for the songs she recorded. Therefore, Cline received little of the royalties from the label, totaling out to 2.34 percent on her recording contract. Her first recording session took place in Nashville, Tennessee on January 5, 1955. Songs for the session were handpicked by McCall and Paul Cohen. Four Star leased the recordings to the larger Decca Records. For those reasons Owen Bradley was chosen as the session's producer, a professional relationship that would continue into the 1960s. Her first single release was 1955's "A Church, a Courtroom, Then Goodbye". Although Cline promoted it with an appearance on the Grand Ole Opry the song was not successful.
Cline recorded a variety of musical styles while recording for Four Star. This included genres such as gospel, rockabilly, traditional country and pop. Writers and music journalists have had mixed beliefs on Cline's Four Star material. Robert Oermann and Mary Bufwack of Finding Her Voice: Women in Country Music called the label's choice of material "mediocre". They also commented that Cline seemed to have "groped for her own sound on the label". Kurt Wolff of Country Music the Rough Guide commented that the music was "sturdy enough, but they only hinted at the potential that lurked inside her. Richie Unterberger of Allmusic claimed it was Cline's voice that made the Four Star material less appealing: "Circumstances were not wholly to blame for Cline's commercial failures. She would have never made it as a rockabilly singer, lacking the conviction of Wanda Jackson or the spunk of Brenda Lee. In fact, in comparison with her best work, she sounds rather stiff and ill-at-ease on most of her early singles."
Between 1955 and 1956, Cline's four singles for Four Star failed to become hits. However, she continued performing regionally, including on the Town and Country Jamboree. In 1956, she appeared on ABC's Country Music Jubilee, Ozark Jubilee. It was at one of her local performances that she met her second husband, Charlie Dick. In 1956, Cline received a call to perform on Arthur Godfrey's Talent Scouts, a national television show she had auditioned for several months prior. She accepted the offer, using her mother Hilda Hensley as her talent scout for the show. According to the show's rules, talent scouts could not be family members. For those reasons, Cline's mother lied in order to appear on the show. When Arthur Godfrey asked if Hensley had known Cline her entire life, she replied, "Yes, just about!"
Cline and Mrs. Hensley flew into LaGuardia Airport in New York City on January 18, 1957. She made her debut appearance on the program on January 21. The day of the show, she met with the show's producer Janette Davis. Cline had chosen "A Poor Man's Roses (Or a Rich Man's Gold)" to perform on the program, but Davis preferred another song she had recorded, "Walkin' After Midnight". Cline initially refused to perform it, but ultimately agreed to it. Davis also suggested Cline wear a cocktail dress instead of the cowgirl outfit created by her mother. She performed "Walkin' After Midnight" and won the program's contest that night. The song had not yet been released as a single. In order to keep up with public demand, Decca Records rush-released the song as a single on February 11. The song ultimately became Cline's breakthrough hit, peaking at number 2 on the Billboard Hot Country and Western Sides chart. The song also reached number 12 on the Billboard pop music chart. The song has since been considered a classic in country music since its release.
Music critics and writers have positively praised "Walkin' After Midnight". Mary Bufwack and Robert Oermann called the song "bluesy". Richie Unterberger noted "it's well-suited for the almost bemused aura of loneliness of the lyric." The success of "Walkin' After Midnight" brought Cline numerous appearances on shows and major networks. She continued working for Arthur Godfrey over the next several months. She also appeared on the Grand Ole Opry in February and the television program Western Ranch Party in March. The money she had earned from her numerous engagements totaled out to ten thousand dollars. Cline gave all the money to her mother, which she used to the pay the mortgage on her Winchester house. In August 1957, her debut studio album was issued via Decca Records.
Cline's follow-up singles to "Walkin' After Midnight" did not yield any success. This was partially due to the quality of material chosen for her to record. Cline was dissatisfied with the limited success following "Walkin' After Midnight". Bradley recounted how she often came to him saying, "Hoss, can't you do something? I feel like a prisoner." Around the same time, Cline was fired from her regular slot on Town and Country Jamboree. According to Connie B. Gay, she ran late for shows and "showed up with liquor on her breath". In September 1957, Cline married Charlie Dick and he was soon sent to Fort Bragg, North Carolina on a military assignment. Cline also gave birth to her first daughter Julie. In hopes of restarting her career, Cline and her family moved to Nashville, Tennessee.
1960–1961: New beginnings and car accident
Cline's professional decisions yielded more positive results by the early 1960s. Upon moving to Nashville, she signed a management deal with Randy Hughes. She originally wished to work with Hubert Long, however, he was busy managing other artists. Instead, she turned her attention to Hughes. With the help of Hughes, she began working steadier jobs. He organized fifty dollar bookings and got her multiple performances on the Grand Ole Opry. In January 1960, Cline officially became a member of the Opry. When she asked general manager Ott Devine about a membership he replied, "Patsy, if that's all you want, you're on the Opry." Also in January 1960, Cline made her final recording sessions set forth in her contract with Four Star Records. Later that year, her final singles with the label were released: "Lovesick Blues" and "Crazy Dreams". Leaving Four Star, Cline officially signed with Decca Records in late 1960, working exclusively under Bradley's direction. Insisting on receiving an advance, she received $1,000 from Bradley once she began at the label.
Her first release under Decca was 1961's "I Fall to Pieces". The song was written by newly established Nashville songwriters Hank Cochran and Harlan Howard. "I Fall to Pieces" had first been turned down by Roy Drusky and Brenda Lee before Cline cut it in November 1960. At the recording session, she worried about the song's production, particularly the background vocals performed by The Jordanaires. After much arguing between both Cline and Bradley, they negotiated that she would record "I Fall to Pieces" (a song Bradley favored) and "Lovin' in Vain" (a song she favored). Released as a single in January 1961, "I Fall to Pieces" attracted little attention upon its initial issue. In April, the song debuted on the Hot Country and Western Sides chart. By August 7, the song became her first to top the country chart. Additionally, "I Fall to Pieces" crossed over onto the Billboard Pop chart, peaking at number 12.
On June 14, 1961, Cline and her brother Sam Hensley, Jr. were involved in an automobile accident. Cline had brought her mother, sister and brother to see her new Nashville home the day before. On the day of the accident, Cline and her brother went shopping to buy material for her mother to make clothing. Upon driving home, their car was struck head-on by another vehicle. The impact threw her directly into the car windshield, causing extensive facial injuries. Among her injuries, Cline suffered a broken wrist, dislocated hip and a large cut across her forehead, barely missing her eyes. Friend Dottie West heard about the accident via the radio and rushed to the scene, helping to remove pieces of broken glass from Cline's hair. When first responders arrived, Cline insisted the driver in the other vehicle be treated first. Two of the three passengers riding in the car that struck Cline died after arriving at the hospital. When she was brought to the hospital, her injuries were life-threatening and she was not expected to live. She underwent surgery and survived. According to her husband Charlie Dick, upon waking up she said to him, "Jesus was here, Charlie. Don't worry. He took my hand and told me, 'No, not now. I have other things for you to do.'" She spent a month recovering in the hospital.
1961–1963: Career peak
Cline returned to her career six weeks after her 1961 car accident. Her first public appearance was on the Grand Ole Opry where she assured fans she would continue performing. She said to the audience that night, "You're wonderful. I'll tell you one thing: the greatest gift, I think, that you folks coulda given me was the encouragement that you gave me. Right at the very time I needed you the most, you came through with the flying-est colors. And I just want to say you'll just never know how happy you made this ol' country gal." Cline's follow-up single to "I Fall to Pieces" was the song "Crazy". It was written by Willie Nelson, whose version of the song was first heard by Dick. When Dick brought the song to Cline she did not like it. When Dick encouraged her to record "Crazy", Cline replied, "I don't care what you say. I don't like it and I ain't gonna record it. And that's that." Bradley liked the song and set the date for its recording for August 17. When Cline got to Bradley's studio, he convinced her to record it. She listened to Nelson's version of "Crazy" and decided she was going to perform it differently. Nelson's version included a spoken section that Cline removed. She cut additional material on August 17 and when she got to "Crazy", it became difficult to perform. Because Cline was still recovering from the accident, performing the song's high notes caused rib pain. Giving her time to rest, Bradley sent her home while musicians laid down the track without her. A week later she returned and recorded her vocal in a single take.
"Crazy" was released as a single in October 1961, debuting on the Billboard country charts in November. It would peak at number 2 there and number 9 on the same publication's pop charts. "Crazy" would also become Cline's biggest pop hit. "Crazy" has since been called a country music standard. Cline's vocal performance and the song's production have received positive praise over time. Cub Koda of AllMusic noted the "ache" in her voice that makes the song stand out: "Cline's reading of the lyric is filled with an aching world weariness that transforms the tune into one of the first big crossover hits without even trying hard." Country music historian Paul Kingsbury also highlighted her "ache", saying in 2007, "Cline's hit recording swings with such velvety finesse, and her voice throbs and aches so exquisitely, that the entire production sounds absolutely effortless." Jhoni Jackon of Paste Magazine called the recording "iconic", highlighting the "pain" Cline had in her vocal technique. Her second studio album Patsy Cline Showcase was released in late 1961. The album featured both major hits from that year and re-recorded versions of "Walkin' After Midnight" and "A Poor Man's Roses (Or a Rich Man's Gold)".
"Crazy" and Cline's further Decca recordings have received critical praise. Mary Bufwack and Robert Oermann noted "Her thrilling voice invariably invested these with new depth. Patsy's dramatic volume control, stretched-note effects, sobs, pauses and unique ways of holding back, then bursting into full-throated phrases also breathed new life into country chestnuts like "San Antonio Rose", "Blue Moon of Kentucky" and "Half as Much". Richie Unterberger of AllMusic commented that her voice "sounded richer, more confident, and more mature, with ageless wise and vulnerable qualities that have enabled her records to maintain their appeal with subsequent generations." Kurt Wolff of Country Music the Rough Guide reported that Owen Bradley recognized potential in Cline's and once he gained studio control, he smoothed arrangements and "refine her voice into an instrument of torch-singing glory."
In November 1961, she was invited to perform as part of the Grand Ole Opry's show at Carnegie Hall in New York City. She was joined by Opry stars Minnie Pearl, Grandpa Jones, Jim Reeves, Bill Monroe, Marty Robbins, and Faron Young. Despite positive reviews, New York Journal-American columnist Dorothy Kilgallen commented, "everybody should get out of town because the hillbillies are coming!" The comment upset Cline and did not affect ticket sales. The Opry performance would later be sold out. By the end of year, Cline had won several major industry awards including "Favorite Female Vocalist" from Billboard Magazine and Cashbox Magazines "Most Programmed Female Artist". Also in 1961, Cline was back in the studio to record an upcoming album. Among the first songs she recorded was "She's Got You". Written by Hank Cochran, he pitched the song to Cline over the phone. Insisting to hear it in-person, Cochran brought the recording over to her house, along with a bottle of alcohol. Upon listening to it again, she liked the song and wanted to record it. Owen Bradley also liked the song and it was officially recorded on December 17, 1961. "She's Got You" became her third country-pop crossover hit by early 1962. "She's Got You" would also be her second number 1 hit on the Billboard country chart. It was also Cline's first entry in the United Kingdom singles chart, reaching number 43. The cover by Alma Cogan, one of Britain's most popular female artists of the 1950s, performed notably as well.
In 1962, Cline had three major hits with "When I Get Through with You", "So Wrong" and "Imagine That". Cline's career successes helped her become financially stable enough to purchase her first home. She bought a ranch house located Goodlettsville, Tennessee, a suburb of Nashville. The home was decorated by Cline and included a music room, several bedrooms and a large backyard. According to Dottie West, "the house was her mansion, the sign she'd arrived." Cline called it her "dream home" and often had friends over to visit. After her death, the house was sold to country artist Wilma Burgess. In the summer of 1962, manager Randy Hughes got her a role in a country music vehicle film. It also starred Dottie West, Webb Pierce and Sonny James. After arriving to film in DeLand, Florida, the producer had "ran off with the money", according to West. The movie was never made. In August, her third studio album Sentimentally Yours was released. It featured "She's Got You" as well as several country and pop standards. According to biographer Ellis Nassour, her royalties "were coming in slim" and she needed "financial security". Therefore, Randy Hughes arranged Cline to work at the Merri-Mint Theatre in Las Vegas, Nevada for 35 days. Cline would later dislike the experience. During the engagement, she developed a dry throat. She also was homesick and wanted to spend time with her children. By appearing at the engagement, Cline became the first female country artist to headline her own show in Las Vegas.
During this period Cline was said to have experienced premonitions of her own death. Dottie West, June Carter Cash, and Loretta Lynn recalled Cline telling them she felt a sense of impending doom and did not expect to live much longer. In letters, she would also describe the happiness of her new career successes. In January 1963, her next single "Leavin' on Your Mind" was released and debuted on the Billboard country chart soon after. In February, she recorded her final sessions for Decca Records. Among the songs recorded were "Sweet Dreams", "He Called Me Baby", and "Faded Love". Cline arranged for friends Jan Howard and Dottie West to come and hear the session playbacks. According to Howard, "I was in awe of Patsy. You know, afterward you're supposed to say something nice. I couldn't talk. I was dumbfounded."
Personal life
Friendships
Cline had close friendships with several country artists and performers. Her friendship with Loretta Lynn has been the subject of numerous books, songs, films and other projects. The pair first met when Lynn performed "I Fall to Pieces" on the radio shortly after Cline's 1961 car accident. Cline heard the broadcast and sent her husband to pick up Lynn so they could meet. According to Lynn, the pair became close friends "right away". Lynn later described their friendship in detail, "She taught me a lot about show business, like how to go on a stage and how to get off. She even bought me a lot of clothes...She even bought me curtains and drapes for my house because I was too broke to buy them...She was a great human being and a great friend." Lynn also noted they became so close that Cline even gave her underwear. Lynn still has the underwear in storage, saying it was "well-made".
Dottie West was another female country artist with whom Cline became friends. They first met backstage at the Grand Ole Opry. West wrote Cline a fan letter after hearing her first hit "Walkin' After Midnight". According to West, Cline "showed a genuine interest in her career" and they became close friends. The pair often spent time at their homes and worked on packaged tour dates together. West also stated Cline was a supportive friend who helped out in times of need.
Jan Howard was a third female artist with whom Cline had a close friendship. The pair first met when Cline tried starting an argument with Howard backstage at the Grand Ole Opry. She said to Howard, "You're a conceited little son of a bitch! You just go out there, do your spot, and leave without saying hello to anyone." Howard was upset and replied angrily back. Cline then laughed and said, "Slow down! Hoss, you're all right. Anybody that'll stand there and talk back to the Cline like that is all right...I can tell we're gonna be good friends!" The pair remained close for the remainder of Cline's life. Other friendships Cline had with female artists included Brenda Lee, Barbara Mandrell and pianist Del Wood. She also became friends with male country artists including Roger Miller, who helped Cline find material to record. Faron Young was another male artist whom Cline befriended from working on tour together. While on tour, the pair would spend time together, including a trip to Hawaii where the pair saw a hula show.
Family
Cline's mother Hilda Hensley continued living in Winchester, Virginia following her daughter's death. She rented out the family's childhood home on South Kent Street and lived across the street. Following Cline's death, Hensley briefly spent time raising her two grandchildren in Virginia. Hensley maintained a closet full of her daughter's stage costumes, including a sequined dress Cline wore while performing in Las Vegas in 1962. She worked as a seamstress and made many of her daughter's stage costumes. Hensley died from natural causes in 1998. Cline's father Samuel Hensley died of lung cancer in 1956. Hensley had previously deserted the family in 1947 and shortly before his death, Cline and her mother visited him at a hospital in Martinsburg, West Virginia. After discovering his current state, Cline said to her mother, "Mama, I know what-all he did, but it seems he's real sick and may not make it. In spite of everything, I want to visit him." Both of Cline's surviving siblings fought in court over their mother's estate. Because of legal fees, many of Cline's possessions were sold at auction.
Cline had two surviving children at the time of her death: Julie Simadore (born 1958) and Allen Randolph "Randy" (born 1961). Julie has been a significant factor in keeping her mother's legacy alive. She has appeared at numerous public appearances in support of her mother's music and career. Following the death of her father in 2015, she helped open a museum dedicated to Cline in Nashville, Tennessee. Julie has few memories of her mother due to Cline's death while she was young. In an interview with People Magazine, Julie discussed her mother's legacy, "I do understand her position in history, and the history of Nashville and country music...I'm still kind of amazed at it myself, because there's 'Mom' and then there's 'Patsy Cline,' and I'm actually a fan."
The present day American female blues, swing, and rock and roll singer, songwriter and record producer, Casey Hensley, is a distant relation of Cline's.
Marriages
Cline was married twice. Her first marriage was to Gerald Cline, on March 7, 1953. His family had owned a contracting and excavating company in Frederick, Maryland. According to Cline's brother Sam, he liked "flashy cars and women." The two met while she was performing with Bill Peer at the Moose Lodge in Brunswick, Maryland. According to Gerald Cline, "It might not have been love at first sight when Patsy saw me, but it was for me." Gerald Cline often took her to "one-nighters" and other concerts she performed in. Although he enjoyed her performances, he could not get used to her touring and road schedule. Patsy had told a friend during their marriage that she didn't think she "knew what love was" upon marrying Gerald. The pair began living separately by the end of 1956 and divorced in 1957.
Cline married her second husband Charlie Dick on September 15, 1957. The pair met in 1956 while Cline was performing with a local Virginia band. At the time, Dick was a linotype operator for local newspaper, The Winchester Star. According to Dick, he had asked Cline to dance and she replied, "I can't dance while I'm working, okay?" They eventually started spending time together and Cline began telling close friends about their relationship. Cline told Grand Ole Opry pianist Del Wood in 1956, "Hoss, I got some news. I met a boy my own age who's a hurricane in pants! Del, I'm in love, and this time, it's for real." The pair had children Julie and Randy together. Their relationship was considered both romantic and tempestuous. According to Robert Oermann and Mary Bufwack, Cline and Dick's marriage was "fueled by alcohol, argument, passion, jealousy, success, tears and laughter." According to biographer Ellis Nassour, the pair fought often but remained together. They had gained a reputation as "heavy drinkers", but according to Dick himself, they were not "drunks". During one particular fight, Cline had Dick arrested after they became physical with one another. Following Cline's death in 1963, Dick married country artist Jamey Ryan in 1965. The pair divorced in the early 1970s after having one child together. Dick helped with keeping Cline's legacy alive for the remainder of his own life. He assisted in producing several documentaries about Cline's career including Remembering Patsy and The Real Patsy Cline. He became involved with Hallway Productions in the 1990s and helped produce videos on other artists including Willie Nelson and The Mamas and the Papas. Dick died in 2015.
Death
On March 3, 1963, Cline performed a benefit at the Soldiers and Sailors Memorial Hall, Kansas City, Kansas, for the family of disc jockey "Cactus" Jack Call; he had died in an automobile crash a little over a month earlier. Also performing in the show were George Jones, George Riddle and The Jones Boys, Billy Walker, Dottie West, Wilma Lee and Stoney Cooper, George McCormick, the Clinch Mountain Boys as well as Cowboy Copas and Hawkshaw Hawkins. Despite having a cold, Cline gave three performances: 2:00, 5:15 and 8:15 pm. All the shows were standing-room only. For the 2 p.m. show, she wore a sky-blue tulle-laden dress; for the 5:15 show a red shocker; and for the closing show at 8 p.m., Cline wore white chiffon. Her final song was the last she had recorded the previous month, "I'll Sail My Ship Alone".
Cline, who had spent the night at the Town House Motor Hotel, was unable to fly out the day after the concert because Fairfax Airport was fogged in. West asked Patsy to ride in the car with her and husband, Bill, back to Nashville, a 16-hour drive, but Cline refused, saying, "Don't worry about me, Hoss. When it's my time to go, it's my time." On March 5, she called her mother from the motel and checked out at 12:30 p.m., going the short distance to the airport and boarding a Piper PA-24 Comanche plane, aircraft registration number N7000P. On board were Cline, Copas, Hawkins and pilot Randy Hughes.
The plane stopped once in Rogers, Arkansas to refuel and subsequently landed at Dyersburg Municipal Airport in Dyersburg, Tennessee at 5 p.m. Hawkins had accepted Billy Walker's place after Walker left on a commercial flight to take care of a stricken family member. The Dyersburg, Tennessee, airfield manager suggested that they stay the night because of high winds and inclement weather, offering them free rooms and meals. But Hughes, who was not trained in instrument flying, said "I've already come this far. We'll be there before you know it." The plane took off at 6:07 p.m.
Cline's flight crashed in heavy weather on the evening of Tuesday, March 5, 1963. Her recovered wristwatch had stopped at 6:20 p.m. The plane was found some from its Nashville destination, in a forest outside of Camden, Tennessee. Forensic examination concluded that everyone aboard had been killed instantly. Until the wreckage was discovered the following dawn and reported on the radio, friends and family had not given up hope. Endless calls tied up the local telephone exchanges to such a degree that other emergency calls had trouble getting through. The lights at the destination Cornelia Fort Airpark were kept on throughout the night, as reports of the missing plane were broadcast on radio and TV.
Early in the morning, Roger Miller and a friend went searching for survivors: "As fast as I could, I ran through the woods screaming their names—through the brush and the trees—and I came up over this little rise, oh, my God, there they were. It was ghastly. The plane had crashed nose down." Shortly after the bodies were removed, looters scavenged the area. Some of the items which were recovered were eventually donated to the Country Music Hall of Fame. Among them were Cline's wristwatch, a Confederate flag cigarette lighter, studded belt and three pairs of gold lamé slippers. Cline's fee in cash from the last performance was never recovered. Per her wishes, Cline's body was brought home for her memorial service, which thousands attended. People jammed against the small tent over her gold casket and the grave to take all the flowers they could reach as keepsakes. She was buried at Shenandoah Memorial Park in her hometown of Winchester, Virginia. Her grave is marked with a bronze plaque, which reads: "Virginia H. Dick ('Patsy Cline' is noted under her name) 'Death Cannot Kill What Never Dies: Love'." A memorial marks the exact place off Mt Carmel Road in Camden, Tennessee, where the plane crashed in the still-remote forest.
Posthumous releases
Music
Since Cline's death, Decca Records (later bought by MCA) has re-released her music which has made her commercially successful posthumously. The Patsy Cline Story was the first compilation album the label released following her death. It included the songs "Sweet Dreams (Of You)" and "Faded Love". Both tracks were released as singles in 1963. "Sweet Dreams" would reach number 5 on the Billboard country charts and 44 on the Hot 100. "Faded Love" would also become a top 10 hit on the Billboard country chart, peaking at number 7 in October 1963. In 1967, Decca released the compilation Patsy Cline's Greatest Hits. The album would not only peak at number 17 on the Billboard country chart, but also certified diamond in sales from the Recording Industry Association of America. In 2005, the Guinness World Book of Records included Greatest Hits for being the longest album on any record chart by any female artist.
Cline's music continued making the charts into the 1980s. Her version of "Always" made the Billboard country chart in 1980. An album of the same was also released in 1980 that peaked within the top 30 on the Billboard Top Country Albums chart. Two overdubbed duets between Cline and Jim Reeves became major hits during this time as well. Following the release of the Loretta Lynn biopic Coal Miner's Daughter (1980), there was renewed interest in Cline's career. Therefore, MCA Records reissued much of Cline's earlier studio and compilation releases. Her 1967 greatest hits album for example was repackaged in 1988 and labeled 12 Greatest Hits. The record reached number 27 on the Top Country Albums list in 1990. The soundtrack for Cline's own film biopic was released concurrently with the movie in 1985. The soundtrack would peak at number 6 on the Billboard country albums chart upon its release.
In 1991, MCA records issued her first box set entitled The Patsy Cline Collection. The album chronicled all of Cline's recorded material for Four Star and Decca Records. The boxed set received positive reviews, notably by Thom Jurek of Allmusic who rated it five out of five stars. Jurek commented, If an artist ever deserved a box set chronicling her entire career, it is Patsy Cline. Having recorded 102 sides between 1955 and her death at the age of 30 in 1963, Cline changed not only country music forever, but affected the world of pop as well. Over four CDs, arranged chronologically, the listener gets treated to a story in the development and maturation of a cultural icon who was at least, in terms of her gift, the equal of her legend. Rolling Stone listed the box set among their "50 Greatest Albums of All-Time". Writer Rob Sheffield called Cline "a badass cowgirl drama queen belts some of the torchiest, weepiest country songs ever, hitting high notes that make you sob into your margarita." The Patsy Cline Collection would reach number 29 on the Billboard country albums chart in January 1992. In 1997, MCA released Live at the Cimarron Ballroom, a rare recording that had recently resurfaced. Jeweler Bill Frazee had originally purchased a tape in 1975 which he discovered included Cline's live recording. The live performance on the record took place in July 1961, following Cline's car accident. She appeared at the Cimarron Ballroom in Tulsa, Oklahoma to give a one-night performance. Included on the record was unreleased live performances and dialog with the audience. The album peaked in the top 40 of the Billboard country albums chart. Cline's former MCA label continues releasing material to this day. Cline is listed among the Recording Industry of America's "Best Selling Artists" with a total of over 14 million records sold to date.
Film and television
Cline has been portrayed on film and television several times since the 1980s. The Loretta Lynn biopic Coal Miner's Daughter (1980) renewed interest in her life and career. Cline and Lynn's friendship was portrayed in the 1980 film. Actress Beverly D'Angelo played Cline in the movie and did her own singing of Cline's original material. D'Angelo earned a Golden Globe award nomination for her role. In an interview D'Angelo did for a 2017 PBS documentary, playing the role of Patsy Cline "had a profound impact" on her life and career.
In 1985, a feature film about Cline's life was released entitled Sweet Dreams. The film starred Jessica Lange as Cline and Ed Harris as husband Charlie Dick. Originally, Meryl Streep auditioned for Cline's role but ultimately lost to Lange. The film was produced by Bernard Schwartz, who also produced Coal Miner's Daughter. Original ideas called for scenes between Cline and Lynn, however they were ultimately removed from the final script. The film has been criticized for its lack of accuracy to Cline's own life and its musical production. Kurt Wolff wrote, "the soundtrack, however, featured overdubbed versions of Cline's material – better to stick with the originals." Mark Deming of Allmovie only gave the release two out of five stars. Deming commented, "While it's a wise approach to show how her turbulent marriage paralleled her crossover to Countrypolitan ballads, the melodrama tends to overshadow the celebrity story by relegating her rise to stardom to the background. Due to the historically dubious concerts at carnivals and fairgrounds, it appears as though she wasn't as big a star as she actually was." Deming did praise Lange's performance saying she created a "cheerful and spirited" depiction of Cline. Roger Ebert gave it two stars in his original 1985 review. Ebert said, "There isn't the sense of a well-shaped structure in this movie; there's no clear idea of what the filmmakers thought about Patsy Cline, or what thoughts her life is supposed to inspire." Lange was nominated for an Academy Award for Best Actress for her role as Cline.
Cline was also portrayed in television films. In 1995, a film about the life and career of Cline's friend Dottie West debuted on CBS titled, Big Dreams and Broken Hearts: The Dottie West Story. It included several scenes that showcased West's friendship with Cline. Actress Tere Myers played her in the television movie. Deborah Wilker of the Sun-Sentinel called her performance "terrific" and authentic.
Lifetime aired an original television film Patsy & Loretta in October 2019 on the network. It chronicles Cline's friendship with Loretta Lynn. Cline is portrayed by Megan Hilty and Lynn by Jessie Mueller. The film is directed by the Academy Award-winning screenwriter Callie Khouri. The trailer for the movie was released in July 2019. Patsy & Loretta was filmed on location in Nashville, Tennessee and is co-produced by Lynn's daughter and Cline's daughter, Julie Fudge.
There have been several documentaries made about Cline's life and career. The first was a 1989 documentary entitled The Real Patsy Cline which featured interviews with friends and fellow artists. This included Carl Perkins and Willie Nelson. Another documentary was filmed in 1994 entitled Remembering Patsy. The show was hosted by country artist Michelle Wright, who read letters Cline wrote to friends and family. It included interviews with several artists such as Roy Clark, George Jones and Trisha Yearwood. Both documentaries were produced by Cline's widower Charlie Dick. In March 2017, PBS released a documentary on Cline as part of their American Masters series. The film was narrated by Rosanne Cash and featured interviews with fans of Cline. These interviews included Beverly D'Angelo and Reba McEntire. It also included rare performances of songs such as "Three Cigarettes (In an Ashtray)" and "Walkin' After Midnight".
Plays and musicals
Cline's life and career has also been re-created in the theater sector. In 1988, the show Always...Patsy Cline premiered. The show was created by Ted Swindley who derived it from a friendship Cline had with Texas resident Louise Seger. The pair met while Cline was performing at the Esquire Ballroom in Houston, Texas. Seger brought Cline home following the show and they spent the night together. The pair would remain in contact through letters before Cline's death. Much of the script relied from letters exchanged between the two during the course of several years. Seger acts as the show's narrator and revisits memories she shared with Cline through their letter exchanges. Among the show's original performers was Mandy Barnett, who debuted the show at the Ryman Auditorium in 1994. Barnett would go on to have a music and performing career. A second musical was later released in 1991 titled A Closer Walk with Patsy Cline. The show was written by Dean Regan and has been called a "musical retelling" of Cline's career.
Artistry
Influences
Cline was influenced by various music artists. Among her earliest influences were pop singers of the 1940s and 1950s. These included Kay Starr, Helen Morgan, Patti Page, and Kate Smith. Patti Page recollected that Cline's husband said to her, "I just wish Patsy could have met you because she just adored you and listened to you all the time and wanted to be like you." Among her primary influences was Kay Starr, of whom Cline was a "fervent devotee" according to The Washington Post. Jack Hurst of the Chicago Tribune remarked that "Her rich, powerful voice, obviously influenced by that of pop's Kay Starr, has continued and perhaps even grown in popularity over the decades." Cline was also attracted to country music radio programs, notably the Grand Ole Opry. According to Mary Bufwack and Robert Oermann, Cline became "obsessed" with the program at a young age. Cline's mother Hilda Hensley commented on her daughter's admiration, "I know she never wanted anything so badly as to be a star on the Grand Ole Opry..." Among performers from the program she admired was Patsy Montana. Cline was also influenced by other types of performers including early rockabilly artist Charline Arthur.
Voice and style
Cline possessed a contralto voice. Time magazine writer Richard Corliss called her voice "bold". Her voice has also been praised for its display of emotion. Kurt Wolff called it one of the most "emotionally expressive voices in modern country music". Tony Gabrielle of the Daily Press wrote that Cline had "a voice of tremendous emotional power." Cline was at times taken by her own emotion. Husband Charlie Dick recounted that Cline's producer Owen Bradley told him to leave a recording session because she was very emotional and he didn't want to disturb the mood. Cline was once quoted in describing the emotion she felt, saying, "Oh Lord, I sing just like I hurt inside."
During her early career, Cline recorded in styles such as gospel, rockabilly, and honky-tonk. These styles she cut for Four Star Records have been considered below the quality of her later work for Decca Records. Steve Leggett of Allmusic commented, Her recordings prior to 1960, though, were something else again, and with the exception of 1956's "Walkin' After Midnight" and perhaps one or two other songs, she seemed reined in and stifled as a singer, even though she was working with the same producer, Owen Bradley, who was to produce her 1960s successes. Oh the difference a song makes, because in the end the material she recorded between 1955 and 1960 – all of which is collected on these two discs – was simply too weak for Cline to turn into anything resembling gold, even with her obvious vocal skills.
Cline's style has been largely associated with the Nashville Sound, a sub-genre of country music that linked traditional lyrics with orchestrated pop music styles. This new sound helped many of her singles to crossover onto the Billboard Hot 100 and gain a larger audience that did not always hear country music. Her producer Owen Bradley built this sound onto her Decca recordings, sensing a potential in her voice that went beyond traditional country music. At first, she resisted the pop-sounding style, but was ultimately convinced to record in this new style. Stephen M. Desuner of Pitchfork explained that Cline has been an identifiable factor with the Nashville Sound: "She essentially rewrote their songs simply by singing them, elevating their words and wringing every one of their rhymes for maximum dramatic potential." Mark Deming of Allmusic commented, "Cline and Bradley didn't invent "countrypolitan," but precious few artists managed to meld the sophistication of pop and the emotional honesty of country as brilliantly as this music accomplishes with seemingly effortless grace, and these songs still sound fresh and brilliantly crafted decades after the fact."
Image
Cline's public image changed during the course of her career. She began her career wearing cowgirl dresses and hats designed by her mother. However, as her music crossed over into pop, she began wearing sequined gowns and cocktail dresses. While she would often wear cowgirl costumes for live performances, she would also wear evening dresses for television and metropolitan performances. For her 1957 performance on Arthur Godfrey's Talent Scouts, the show's producer insisted that Cline wear an evening dress instead of the fringed cowgirl attire she had intended to wear. Her 1962 engagement at the Merri-Mint Theatre in Las Vegas represented this particular image shift. For one of her performances, Cline wore a sequined cocktail dress designed by her mother.
Cline has also been seen as a pioneer for women in country music. She has been cited as an inspiration by many performers in diverse styles of music. Kurt Wolff of Country Music: The Rough Guide said that Cline had an "aggression" and "boisterous attitude" that gained her the respect of her male counterparts. Wolff explained, "She swaggered her way past stereotypes and other forces of resistance, showing the men in charge – and the public in general – that women were more than capable of singing about such hard subjects as divorce and drinking as well as love and understanding. Sean O'Hagan of The Guardian commented that along with Minnie Pearl, Jean Shepard and Kitty Wells, Cline helped prove that country music was not "macho" and that "strong women" could have a "strong voice". In 2013, The Washington Post wrote, "she was what I call a pre-feminist woman. She didn't open doors; she kicked them down." Mary Bufwack and Robert K. Oermann wrote in 2003 that Cline "transformed what it meant to be a female country star".
Legacy
Cline has been cited in both country and pop music as of one of the greatest vocalists of all-time. Her voice has also been called "haunting", "powerful", and "emotional". Cline's emotional expression and delivery of lyrics helped influence various musical genres and artists. With the support of producer Owen Bradley, Cline has been said to "help define" the Nashville Sound style of country music. While the subgenre has received mixed opinions, it has also been said to be a significant part of country music's "authenticity", with Cline being the center focal point of the subgenre. Other artists have noted her impact, including LeAnn Rimes who stated, "I remember my dad telling me to listen to the way she told a story... I remember feeling more emotion when she sang than anyone else I had ever heard." Lucinda Williams commented on Cline's vocal talent in helping define her legacy, stating, "Even though her style is considered country, her delivery is more like a classic pop singer... That's what set her apart from Loretta Lynn or Tammy Wynette. You'd almost think she was classically trained."
Cline has been a major influence on various music artists including Reba McEntire, Loretta Lynn, LeAnn Rimes, k.d. lang, Linda Ronstadt, Trisha Yearwood, Sara Evans, Dottie West, Kacey Musgraves, Margo Price, Cyndi Lauper, Trixie Mattel and Brandi Carlile. Dottie West (also a close friend of Cline's) spoke about her influence on her own career, "I think I was most influenced by Patsy Cline, she said things for people. There was so much feeling in there. In fact, she told me, 'Hoss, if you can't do it with feeling, don't'". In 2019, Sara Evans discussed how Cline has been an influence since she was a young girl, "I learned everything I could learn about her. I tried to mimic her singing to the ‘t’. We grew up singing in bars — my brothers, sisters and I — from the time I was really little. So I started covering every Patsy Cline song. Then when I first got my record deal I came to Winchester to visit a radio station to try to get them to play my song Three Chords and the Truth."
In 1973, Cline was inducted into the Country Music Hall of Fame. With the induction, she became the first solo female artist to be included. In 1977, Cline's friend and mentee Loretta Lynn released a tribute album entitled I Remember Patsy. The record contained covers of Cline's songs, including "Back in Baby's Arms" and "Crazy". The album's lead single was "She's Got You", which would reach the number 1 spot on the Billboard country chart in 1977. In 1995, Cline received a Grammy Lifetime Achievement Award for her legacy and career. Additionally, her hits "I Fall to Pieces" and "Crazy" received inductions into the Grammy Hall of Fame.
In 1993, Cline was included on United States postal stamps as part of their "Legends" series. Other country artists that were included on stamp series were The Carter Family, Hank Williams, and Bob Wills. The stamps were dedicated in an official ceremony at the Grand Ole Opry by Postmaster General Marvin Runyon. In August 1999, Cline received a star on the Hollywood Walk of Fame. The ceremony was attended by her widower Charlie Dick and daughter Julie Fudge. During the 1990s, two of her songs were voted among the "Greatest Juke Box Hits of All-Time". "Crazy" was voted as the number 1 greatest, along with "I Fall to Pieces" ranking at number 17.
Since the late 1990s, she received additional rankings and honors. In 1999, Cline was ranked at number 11 among VH1's list of the "100 Greatest Women of Rock and Roll". In 2003, she was included by Country Music Television on their list of the "40 Greatest Women of Country Music". In 2010, Cline ranked at number 46 on Rolling Stones list of the "100 Greatest Singers of All-Time". The magazine would rank her on their 2017 list of the "100 Greatest Country Artists of All-Time", where she placed at number 12.
Forty years after her death, MCA Nashville released a tribute album entitled Remembering Patsy Cline (2003). A television special also followed around the same time. The album consisted of cover versions of songs taken from Cline's 1967 greatest hits album. It included songs covered by country artists such as Terri Clark and Martina McBride. It also featured artists from other genres such as Michelle Branch, Diana Krall and Patti Griffin.
Cline's hometown of Winchester, Virginia has helped honor her legacy and career. In 1987, the local government approved the placing of markers within the town denoting it as the birthplace of Cline. The same year, a bell tower was erected in her burial location at Shenandoah Memorial Park. The bell tower cost thirty five thousand dollars and was partially funded by Cline's friends Jan Howard and Loretta Lynn. In 2005, Cline's childhood home was given an official on-site marker and included on the National Register of Historic Places. With the development of an organization entitled Celebrating Patsy Cline Inc., renovations began on Cline's childhood home. In August 2011, the Patsy Cline House officially opened as a historic home for tours. In almost three months, about three thousand people visited the home. The home was restored to the era in which Cline lived in it during the 1950s with her mother and siblings. Replicas of furniture and stage clothes are also included. Daughter Julie Fudge spoke of the house in 2011, stating, “I think when you go into the house, you will kind of feel like this is a snapshot of what it would have been like to visit when Mom lived there.”
In 2017, the Patsy Cline Museum opened in Nashville, Tennessee, located at 119 3rd Ave. S., on the second floor in the same building as the Johnny Cash Museum. The museum includes Cline's actual stage costumes, as well as her original scrapbook and record albums. The Patsy Cline Museum features other artifacts, such as the soda fountain machine from Gaunt's Drug Store, where Cline worked as a teenager. Original letters that Cline wrote to friends are also included as part of the museum.
Discography
Studio albums
1957: Patsy Cline
1961: Patsy Cline Showcase
1962: Sentimentally Yours
Posthumous studio albums
1964: A Portrait of Patsy Cline
1964: That's How a Heartache Begins
1980: Always
References
Footnotes
Books
Further reading
Bego, Mark. I Fall to Pieces: The Music and the Life of Patsy Cline. Adams Media Corporation.
Hazen, Cindy and Mike Freeman. Love Always, Patsy. The Berkley Publishing Group.
Jones, Margaret (1998). "Patsy Cline". In The Encyclopedia of Country Music. Paul Kingsbury, Editor. New York: Oxford University Press. pp. 98–9.
Gomery, Douglas Patsy Cline: The Making of an Icon. Trafford Publishing.
External links
Celebrating Patsy Cline an official organization sponsoring several projects
Patsy Cline Home and Museum located in Winchester, Virginia
Patsy Cline recordings at the Discography of American Historical Recordings.
The Patsy Cline Plane Crash
1932 births
1963 deaths
20th-century American composers
20th-century American singers
20th-century American women singers
20th-century women composers
Accidental deaths in Tennessee
American contraltos
American country singer-songwriters
American women composers
American women country singers
American women pop singers
American women singer-songwriters
American rockabilly musicians
Country Music Hall of Fame inductees
Country musicians from Tennessee
Country musicians from Virginia
Cowgirl Hall of Fame inductees
Deaths in Tennessee
Decca Records artists
Four Star Records artists
Grammy Lifetime Achievement Award winners
Grand Ole Opry members
People from Goodlettsville, Tennessee
People from Winchester, Virginia
Rock and roll musicians
Singer-songwriters from Virginia
Torch singers
Traditional pop music singers
Victims of aviation accidents or incidents in 1963
Victims of aviation accidents or incidents in the United States
Musicians killed in aviation accidents or incidents
Singer-songwriters from Tennessee
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[
"Dolores Cassinelli (July 4, 1888 – April 26, 1984) was an American film actress and singer. She appeared in 69 films between 1911 and 1925. \n\nBorn in New York City, Cassinelli and her family moved to Chicago. Her parents put her in a convent with plans for her to become a nun, but she preferred to become an actress. \n\nBy 1929, Cassinelli had left acting and turned to singing professionally. She said that she would return to films only if she could make a singing film, \"for radio is my life now\".\n\nShe is interred at Holy Redeemer Cemetery in South Plainfield, New Jersey.\n\nSelected filmography\n A False Suspicion (1911)\n When Soul Meets Soul (1913)*short\n The Virtuous Model (1919)\n Tarnished Reputations (1920)\n The Web of Deceit (1920)\n Forever (1921)\n Anne of Little Smoky (1921)\n The Hidden Light (1921)\n The Secrets of Paris (1922)\n The Challenge (1922)\n Columbus (1923) - Queen Isabella\n Jamestown (1923) - Pocahontas\n Dangerous Money (1924)\n Lend Me Your Husband (1924)\n The Unguarded Hour (1925)\n The Midnight Girl (1925)\n\nReferences\n\nExternal links\n\n1888 births\n1984 deaths\nAmerican silent film actresses\nActresses from Chicago\nPeople from New Brunswick, New Jersey\n20th-century American actresses",
"Gabriela Horn (born 25 January 1988), known professionally as Pænda (often stylised as PÆNDA, sometimes simplified as Paenda, however pronounced like Panda), is an Austrian singer, songwriter and music producer. She represented Austria in the Eurovision Song Contest 2019 with the song \"Limits\", which was released on 8 March.\n\nLife and career \nPænda was born in January 1988, in Deutschlandsberg, Styria. She started singing in a choir in her home town at the age of six. At fourteen, she began songwriting and singing in various pop rock bands. She took guitar and piano lessons and moved to Vienna at age 20 to study pop and jazz music at the , where she graduated with honors in 2013. She currently lives in Vienna, writing, composing and producing her music at her home studio. Pænda records and writes everything by herself.\n\nEurovision\nIn 2019, Pænda was chosen by a team of music experts and broadcaster ORF to represent Austria at the 64th Eurovision Song Contest in Tel Aviv. She performed her song \"Limits\", which finished second last with 21 points, and as a result did not quality for the final.\n\nDiscography\n\nAlbum\n\nExtended plays\n\nSingles\n\nReferences\n\nExternal links \n\n \n\nEurovision Song Contest entrants of 2019\nEurovision Song Contest entrants for Austria\nLiving people\n1988 births\n21st-century Austrian women singers\nAustrian pop singers\nAustrian electronic musicians"
] |
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"Patsy Cline",
"Early years",
"Was she musical from childhood?",
"She was the eldest child of seamstress Hilda Virginia (nee Patterson, 1916-1998) and blacksmith Samuel Lawrence Hensley (1889-1956).",
"When did she discover she had talent for singing?",
"When Patsy was 13,",
"When did she start singing professionally?",
"she asked WINC (AM) disc jockey Jimmy McCoy if she could sing on his show. Her performance in 1947 was well received"
] |
C_eb67cd934c274c28837e9c932e60a6af_1
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Did that lead to other opportunities?
| 4 |
Did Patsy Cline singing on Jimmy McCoy's WINC (AM) show lead to other opportunities?
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Patsy Cline
|
Patsy Cline was born Virginia Patterson Hensley on September 8, 1932 in Winchester, Virginia, in the city's Memorial Hospital. She was the eldest child of seamstress Hilda Virginia (nee Patterson, 1916-1998) and blacksmith Samuel Lawrence Hensley (1889-1956). She had a brother Samuel Jr. (1939-2004) and a sister Sylvia. The family moved often before finally settling in Winchester, Virginia when Patsy was 16. Sam Hensley deserted his family in 1947, but the children's home was reportedly happy nonetheless. When Patsy was 13, she was hospitalized with a throat infection and rheumatic fever. She later said, "The fever affected my throat and when I recovered I had this booming voice like Kate Smith." Cline enrolled at John Handley High School but never attended classes. To help her mother support their family, she worked as a soda jerk at Gaunt's Drug Store and a waitress at the Triangle Diner. She watched performers through the window at the local radio station, and she asked WINC (AM) disc jockey Jimmy McCoy if she could sing on his show. Her performance in 1947 was well received and she was asked back. This led to appearances at local nightclubs wearing fringed Western outfits that her mother made from Patsy's designs. Cline performed in variety and talent shows in the Winchester and Tri-State areas, and she gained a large following through the shows and local radio appearances. Jimmy Dean was already a country star in 1954, and she became a regular with him on Connie B. Gay's Town and Country Jamboree radio show on WAVA (AM) in Arlington County, Virginia. CANNOTANSWER
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This led to appearances at local nightclubs wearing fringed Western outfits that her mother made from Patsy's designs.
|
Patsy Cline (born Virginia Patterson Hensley; September 8, 1932 – March 5, 1963) was an American singer. She is considered one of the most influential vocalists of the 20th century and was one of the first country music artists to successfully cross over into pop music. Cline had several major hits during her eight-year recording career, including two number-one hits on the Billboard Hot Country and Western Sides chart.
Cline's first professional performances began at the local WINC radio station when she was fifteen. In the early 1950s, Cline began appearing in a local band led by performer Bill Peer. Various local appearances led to featured performances on Connie B. Gay's Town and Country television broadcasts. It also led to the signing of her first recording contract with the Four Star label in 1954. She had minor success with her earliest Four Star singles including "A Church, a Courtroom, Then Goodbye" (1955) and "I've Loved and Lost Again" (1956). In 1957 however, Cline made her first national television appearance on Arthur Godfrey's Talent Scouts. After performing "Walkin' After Midnight", the single would become her first major hit on both the country and pop charts.
Cline's further singles with Four Star Records were unsuccessful, although she continued performing and recording. After marrying in 1957 and giving birth in 1958, she moved to Nashville, Tennessee, to further her career. Working with new manager Randy Hughes, Cline would become a member of the Grand Ole Opry and then move to Decca Records in 1960. Under the direction of producer Owen Bradley, her musical sound shifted and she achieved consistent success. The 1961 single "I Fall to Pieces" would become her first to top the Billboard country chart. As the song became a hit, Cline was severely injured in an automobile accident, which caused her to spend a month in the hospital. After she recovered, her next single release "Crazy" would also become a major hit.
Between 1962 and 1963, Cline had hits with "She's Got You", "When I Get Through with You", "So Wrong" and "Leavin' on Your Mind". She also toured and headlined shows with more frequency. In March 1963, Cline was killed in a plane crash along with country performers Cowboy Copas, Hawkshaw Hawkins and manager Randy Hughes, during a flight from Kansas City, Kansas back to Nashville.
Since her death, Cline has been cited as one of the most celebrated, respected and influential performers of the 20th century. Her music has influenced performers of various styles and genres. She has also been seen as a forerunner for women in country music, being among the first to sell records and headline concerts. In 1973, she became the first female performer to be inducted into the Country Music Hall of Fame. In the 1980s, Cline's posthumous successes continued in the mass media. She was portrayed twice in major motion pictures, including the 1985 biopic Sweet Dreams starring Jessica Lange. Several documentaries and stage shows were released during this time, including the 1988 musical Always...Patsy Cline. A 1991 box set of her recordings was issued that received critical acclaim. Her greatest hits album sold over 10 million copies in 2005. In 2011, Cline's childhood home was restored as a museum for visitors and fans to tour. In 2017, Cline’s Dream Home in Nashville, TN was placed on the Tennessee Historical Markers List by the Patsy Cline Fan Home Owners, Steven Shirey and Thomas Corritore.
Early life
Cline was born Virginia Patterson Hensley in Winchester, Virginia on September 8, 1932, to Hilda Virginia (née Patterson; 1916–1998) and Samuel Lawerence Hensley (1889–1956). Mrs. Hensley was only 16 years old at the time of Cline's birth. Sam Hensley had been married before; Cline had two half siblings (aged 12 and 15) that lived with a foster family because of their mother's death years before. After Cline, Hilda Hensley would also have Samuel Jr. (called John) and Sylvia Mae. Besides being called "Virginia" in her childhood, Cline was also referred to as "Ginny". She temporarily lived with her mother's family in Gore, Virginia before relocating many times throughout the state. In her childhood, the family relocated where Samuel Hensley, a blacksmith, could find employment, including Elkton, Staunton, and Norfolk. When the family had little money, she would find work. This included an Elkton poultry factory, where her job was to pluck and cut chickens. The family moved often before finally settling in Winchester, Virginia on South Kent Street. Cline would later report that her father sexually abused her. When confiding about the abuse to friend Loretta Lynn, Cline told her, "take this to your grave". Hilda Hensley would later report details of the abuse to producers of Cline's 1985 biopic Sweet Dreams.
At age 13, Cline was hospitalized with a throat infection and rheumatic fever. Speaking of the incident in 1957 she said, "I developed a terrible throat infection and my heart even stopped beating. The doctor put me in an oxygen tent. You might say it was my return to the living after several days that launched me as a singer. The fever affected my throat and when I recovered I had this booming voice like Kate Smith's." It was during this time she developed an interest in singing. She started performing with her mother in the local Baptist choir. Mother and daughter also performed duets at church social events. She also taught herself how to play the piano.
With the new performing opportunities, Cline's interest in singing only grew further and at the age of 14, she told her mother that she was going to audition for the local radio station. Her first radio performances began at WINC in the Winchester area. According to WINC's radio disc jockey Joltin' Jim McCoy, Cline appeared in the station's waiting room one day and asked to audition. McCoy was impressed by her audition performance, reportedly saying, "Well, if you've got nerve enough to stand before that mic and sing over the air live, I've got nerve enough to let you." While also performing on the radio, Cline also started appearing in talent contests and created a nightclub cabaret act similar to performer Helen Morgan.
Cline's mother and father had marital conflicts during her childhood and by 1947, her father deserted the family. Author Ellis Nassour of the biography Honky Tonk Angel: An Intimate Story of Patsy Cline reported Cline had a "beautiful relationship" with her mother. In his interviews with Hilda Hensley, he quoted Cline's mother in saying they "were more like sisters" than parent and child. Upon entering the ninth grade, Cline enrolled at John Handley High School in Winchester, Virginia. However, the family had trouble sustaining an income after her father's desertion. Therefore, Cline dropped out of high school to help support the family. She began working at Gaunt's Drug Store in the Winchester area as a clerk and soda jerk.
Career
1948–1953: Early career
At age 15, Cline wrote a letter to the Grand Ole Opry asking for an audition. She told local photographer Ralph Grubbs about the letter, "A friend thinks I'm crazy to send it. What do you think?" Grubbs encouraged Cline to send it. Several weeks later, she received a return letter from the Opry asking for pictures and recordings. At the same time, Gospel performer Wally Fowler headlined a concert in her hometown. Cline convinced concert employees to let her backstage where she asked Fowler for an audition. Following a successful audition, Cline's family received a call asking for her to audition for the Opry. She traveled with her mother, two siblings, and a family friend on an eight-hour journey to Nashville, Tennessee. With limited finances, they drove overnight and slept in a Nashville park the following morning. Cline auditioned for Opry performer Moon Mullican the same day. The audition was well-received and Cline expected to hear from the Opry the same day. However, she never received news and the family returned to Virginia.
By the early 1950s, Cline continued performing around the local area. In 1952, she asked to audition for local country bandleader Bill Peer. Following her audition, she began performing regularly as a member of Bill Peer's Melody Boys and Girls. The pair's relationship turned romantic, continuing an affair for several years. Nonetheless, the pair remained married to their spouses. Peer's group played primarily at the Moose Lodge in Brunswick, Maryland where she would meet her first husband, Gerald Cline. Peer encouraged her to have a more appropriate stage name. She changed her first name from Virginia to Patsy (taken from her middle name "Patterson"). She kept her new last name, Cline. Ultimately, she became professionally known as "Patsy Cline".
In August 1953, Cline was a contestant in a local country music contest. She won 100 dollars and the opportunity to perform as a regular on Connie B. Gay's Town and Country Time. The show included country stars Jimmy Dean, Roy Clark, George Hamilton IV and Billy Grammer, and was filmed in Washington D.C. and Arlington, Virginia. She was not officially added to the program's television shows until October 1955. Cline's television performances received critical acclaim. The Washington Star magazine praised her stage presence, commenting, "She creates the moods through movement of her hands and body and by the lilt of her voice, reaching way down deep in her soul to bring forth the melody. Most female country music vocalists stand motionless, sing with monotonous high-pitched nasal twang. Patsy's come up with a throaty style loaded with motion and E-motion."
1954–1960: Four Star Records
In 1954, Bill Peer created and distributed a series of demonstration tapes with Cline's voice on it. A tape was brought to the attention of Bill McCall, president of Four Star Records. On September 30, 1954, she signed a two-year recording contract with the label alongside Peer and her husband Gerald Cline. The original contract allowed Four Star to receive most of the money for the songs she recorded. Therefore, Cline received little of the royalties from the label, totaling out to 2.34 percent on her recording contract. Her first recording session took place in Nashville, Tennessee on January 5, 1955. Songs for the session were handpicked by McCall and Paul Cohen. Four Star leased the recordings to the larger Decca Records. For those reasons Owen Bradley was chosen as the session's producer, a professional relationship that would continue into the 1960s. Her first single release was 1955's "A Church, a Courtroom, Then Goodbye". Although Cline promoted it with an appearance on the Grand Ole Opry the song was not successful.
Cline recorded a variety of musical styles while recording for Four Star. This included genres such as gospel, rockabilly, traditional country and pop. Writers and music journalists have had mixed beliefs on Cline's Four Star material. Robert Oermann and Mary Bufwack of Finding Her Voice: Women in Country Music called the label's choice of material "mediocre". They also commented that Cline seemed to have "groped for her own sound on the label". Kurt Wolff of Country Music the Rough Guide commented that the music was "sturdy enough, but they only hinted at the potential that lurked inside her. Richie Unterberger of Allmusic claimed it was Cline's voice that made the Four Star material less appealing: "Circumstances were not wholly to blame for Cline's commercial failures. She would have never made it as a rockabilly singer, lacking the conviction of Wanda Jackson or the spunk of Brenda Lee. In fact, in comparison with her best work, she sounds rather stiff and ill-at-ease on most of her early singles."
Between 1955 and 1956, Cline's four singles for Four Star failed to become hits. However, she continued performing regionally, including on the Town and Country Jamboree. In 1956, she appeared on ABC's Country Music Jubilee, Ozark Jubilee. It was at one of her local performances that she met her second husband, Charlie Dick. In 1956, Cline received a call to perform on Arthur Godfrey's Talent Scouts, a national television show she had auditioned for several months prior. She accepted the offer, using her mother Hilda Hensley as her talent scout for the show. According to the show's rules, talent scouts could not be family members. For those reasons, Cline's mother lied in order to appear on the show. When Arthur Godfrey asked if Hensley had known Cline her entire life, she replied, "Yes, just about!"
Cline and Mrs. Hensley flew into LaGuardia Airport in New York City on January 18, 1957. She made her debut appearance on the program on January 21. The day of the show, she met with the show's producer Janette Davis. Cline had chosen "A Poor Man's Roses (Or a Rich Man's Gold)" to perform on the program, but Davis preferred another song she had recorded, "Walkin' After Midnight". Cline initially refused to perform it, but ultimately agreed to it. Davis also suggested Cline wear a cocktail dress instead of the cowgirl outfit created by her mother. She performed "Walkin' After Midnight" and won the program's contest that night. The song had not yet been released as a single. In order to keep up with public demand, Decca Records rush-released the song as a single on February 11. The song ultimately became Cline's breakthrough hit, peaking at number 2 on the Billboard Hot Country and Western Sides chart. The song also reached number 12 on the Billboard pop music chart. The song has since been considered a classic in country music since its release.
Music critics and writers have positively praised "Walkin' After Midnight". Mary Bufwack and Robert Oermann called the song "bluesy". Richie Unterberger noted "it's well-suited for the almost bemused aura of loneliness of the lyric." The success of "Walkin' After Midnight" brought Cline numerous appearances on shows and major networks. She continued working for Arthur Godfrey over the next several months. She also appeared on the Grand Ole Opry in February and the television program Western Ranch Party in March. The money she had earned from her numerous engagements totaled out to ten thousand dollars. Cline gave all the money to her mother, which she used to the pay the mortgage on her Winchester house. In August 1957, her debut studio album was issued via Decca Records.
Cline's follow-up singles to "Walkin' After Midnight" did not yield any success. This was partially due to the quality of material chosen for her to record. Cline was dissatisfied with the limited success following "Walkin' After Midnight". Bradley recounted how she often came to him saying, "Hoss, can't you do something? I feel like a prisoner." Around the same time, Cline was fired from her regular slot on Town and Country Jamboree. According to Connie B. Gay, she ran late for shows and "showed up with liquor on her breath". In September 1957, Cline married Charlie Dick and he was soon sent to Fort Bragg, North Carolina on a military assignment. Cline also gave birth to her first daughter Julie. In hopes of restarting her career, Cline and her family moved to Nashville, Tennessee.
1960–1961: New beginnings and car accident
Cline's professional decisions yielded more positive results by the early 1960s. Upon moving to Nashville, she signed a management deal with Randy Hughes. She originally wished to work with Hubert Long, however, he was busy managing other artists. Instead, she turned her attention to Hughes. With the help of Hughes, she began working steadier jobs. He organized fifty dollar bookings and got her multiple performances on the Grand Ole Opry. In January 1960, Cline officially became a member of the Opry. When she asked general manager Ott Devine about a membership he replied, "Patsy, if that's all you want, you're on the Opry." Also in January 1960, Cline made her final recording sessions set forth in her contract with Four Star Records. Later that year, her final singles with the label were released: "Lovesick Blues" and "Crazy Dreams". Leaving Four Star, Cline officially signed with Decca Records in late 1960, working exclusively under Bradley's direction. Insisting on receiving an advance, she received $1,000 from Bradley once she began at the label.
Her first release under Decca was 1961's "I Fall to Pieces". The song was written by newly established Nashville songwriters Hank Cochran and Harlan Howard. "I Fall to Pieces" had first been turned down by Roy Drusky and Brenda Lee before Cline cut it in November 1960. At the recording session, she worried about the song's production, particularly the background vocals performed by The Jordanaires. After much arguing between both Cline and Bradley, they negotiated that she would record "I Fall to Pieces" (a song Bradley favored) and "Lovin' in Vain" (a song she favored). Released as a single in January 1961, "I Fall to Pieces" attracted little attention upon its initial issue. In April, the song debuted on the Hot Country and Western Sides chart. By August 7, the song became her first to top the country chart. Additionally, "I Fall to Pieces" crossed over onto the Billboard Pop chart, peaking at number 12.
On June 14, 1961, Cline and her brother Sam Hensley, Jr. were involved in an automobile accident. Cline had brought her mother, sister and brother to see her new Nashville home the day before. On the day of the accident, Cline and her brother went shopping to buy material for her mother to make clothing. Upon driving home, their car was struck head-on by another vehicle. The impact threw her directly into the car windshield, causing extensive facial injuries. Among her injuries, Cline suffered a broken wrist, dislocated hip and a large cut across her forehead, barely missing her eyes. Friend Dottie West heard about the accident via the radio and rushed to the scene, helping to remove pieces of broken glass from Cline's hair. When first responders arrived, Cline insisted the driver in the other vehicle be treated first. Two of the three passengers riding in the car that struck Cline died after arriving at the hospital. When she was brought to the hospital, her injuries were life-threatening and she was not expected to live. She underwent surgery and survived. According to her husband Charlie Dick, upon waking up she said to him, "Jesus was here, Charlie. Don't worry. He took my hand and told me, 'No, not now. I have other things for you to do.'" She spent a month recovering in the hospital.
1961–1963: Career peak
Cline returned to her career six weeks after her 1961 car accident. Her first public appearance was on the Grand Ole Opry where she assured fans she would continue performing. She said to the audience that night, "You're wonderful. I'll tell you one thing: the greatest gift, I think, that you folks coulda given me was the encouragement that you gave me. Right at the very time I needed you the most, you came through with the flying-est colors. And I just want to say you'll just never know how happy you made this ol' country gal." Cline's follow-up single to "I Fall to Pieces" was the song "Crazy". It was written by Willie Nelson, whose version of the song was first heard by Dick. When Dick brought the song to Cline she did not like it. When Dick encouraged her to record "Crazy", Cline replied, "I don't care what you say. I don't like it and I ain't gonna record it. And that's that." Bradley liked the song and set the date for its recording for August 17. When Cline got to Bradley's studio, he convinced her to record it. She listened to Nelson's version of "Crazy" and decided she was going to perform it differently. Nelson's version included a spoken section that Cline removed. She cut additional material on August 17 and when she got to "Crazy", it became difficult to perform. Because Cline was still recovering from the accident, performing the song's high notes caused rib pain. Giving her time to rest, Bradley sent her home while musicians laid down the track without her. A week later she returned and recorded her vocal in a single take.
"Crazy" was released as a single in October 1961, debuting on the Billboard country charts in November. It would peak at number 2 there and number 9 on the same publication's pop charts. "Crazy" would also become Cline's biggest pop hit. "Crazy" has since been called a country music standard. Cline's vocal performance and the song's production have received positive praise over time. Cub Koda of AllMusic noted the "ache" in her voice that makes the song stand out: "Cline's reading of the lyric is filled with an aching world weariness that transforms the tune into one of the first big crossover hits without even trying hard." Country music historian Paul Kingsbury also highlighted her "ache", saying in 2007, "Cline's hit recording swings with such velvety finesse, and her voice throbs and aches so exquisitely, that the entire production sounds absolutely effortless." Jhoni Jackon of Paste Magazine called the recording "iconic", highlighting the "pain" Cline had in her vocal technique. Her second studio album Patsy Cline Showcase was released in late 1961. The album featured both major hits from that year and re-recorded versions of "Walkin' After Midnight" and "A Poor Man's Roses (Or a Rich Man's Gold)".
"Crazy" and Cline's further Decca recordings have received critical praise. Mary Bufwack and Robert Oermann noted "Her thrilling voice invariably invested these with new depth. Patsy's dramatic volume control, stretched-note effects, sobs, pauses and unique ways of holding back, then bursting into full-throated phrases also breathed new life into country chestnuts like "San Antonio Rose", "Blue Moon of Kentucky" and "Half as Much". Richie Unterberger of AllMusic commented that her voice "sounded richer, more confident, and more mature, with ageless wise and vulnerable qualities that have enabled her records to maintain their appeal with subsequent generations." Kurt Wolff of Country Music the Rough Guide reported that Owen Bradley recognized potential in Cline's and once he gained studio control, he smoothed arrangements and "refine her voice into an instrument of torch-singing glory."
In November 1961, she was invited to perform as part of the Grand Ole Opry's show at Carnegie Hall in New York City. She was joined by Opry stars Minnie Pearl, Grandpa Jones, Jim Reeves, Bill Monroe, Marty Robbins, and Faron Young. Despite positive reviews, New York Journal-American columnist Dorothy Kilgallen commented, "everybody should get out of town because the hillbillies are coming!" The comment upset Cline and did not affect ticket sales. The Opry performance would later be sold out. By the end of year, Cline had won several major industry awards including "Favorite Female Vocalist" from Billboard Magazine and Cashbox Magazines "Most Programmed Female Artist". Also in 1961, Cline was back in the studio to record an upcoming album. Among the first songs she recorded was "She's Got You". Written by Hank Cochran, he pitched the song to Cline over the phone. Insisting to hear it in-person, Cochran brought the recording over to her house, along with a bottle of alcohol. Upon listening to it again, she liked the song and wanted to record it. Owen Bradley also liked the song and it was officially recorded on December 17, 1961. "She's Got You" became her third country-pop crossover hit by early 1962. "She's Got You" would also be her second number 1 hit on the Billboard country chart. It was also Cline's first entry in the United Kingdom singles chart, reaching number 43. The cover by Alma Cogan, one of Britain's most popular female artists of the 1950s, performed notably as well.
In 1962, Cline had three major hits with "When I Get Through with You", "So Wrong" and "Imagine That". Cline's career successes helped her become financially stable enough to purchase her first home. She bought a ranch house located Goodlettsville, Tennessee, a suburb of Nashville. The home was decorated by Cline and included a music room, several bedrooms and a large backyard. According to Dottie West, "the house was her mansion, the sign she'd arrived." Cline called it her "dream home" and often had friends over to visit. After her death, the house was sold to country artist Wilma Burgess. In the summer of 1962, manager Randy Hughes got her a role in a country music vehicle film. It also starred Dottie West, Webb Pierce and Sonny James. After arriving to film in DeLand, Florida, the producer had "ran off with the money", according to West. The movie was never made. In August, her third studio album Sentimentally Yours was released. It featured "She's Got You" as well as several country and pop standards. According to biographer Ellis Nassour, her royalties "were coming in slim" and she needed "financial security". Therefore, Randy Hughes arranged Cline to work at the Merri-Mint Theatre in Las Vegas, Nevada for 35 days. Cline would later dislike the experience. During the engagement, she developed a dry throat. She also was homesick and wanted to spend time with her children. By appearing at the engagement, Cline became the first female country artist to headline her own show in Las Vegas.
During this period Cline was said to have experienced premonitions of her own death. Dottie West, June Carter Cash, and Loretta Lynn recalled Cline telling them she felt a sense of impending doom and did not expect to live much longer. In letters, she would also describe the happiness of her new career successes. In January 1963, her next single "Leavin' on Your Mind" was released and debuted on the Billboard country chart soon after. In February, she recorded her final sessions for Decca Records. Among the songs recorded were "Sweet Dreams", "He Called Me Baby", and "Faded Love". Cline arranged for friends Jan Howard and Dottie West to come and hear the session playbacks. According to Howard, "I was in awe of Patsy. You know, afterward you're supposed to say something nice. I couldn't talk. I was dumbfounded."
Personal life
Friendships
Cline had close friendships with several country artists and performers. Her friendship with Loretta Lynn has been the subject of numerous books, songs, films and other projects. The pair first met when Lynn performed "I Fall to Pieces" on the radio shortly after Cline's 1961 car accident. Cline heard the broadcast and sent her husband to pick up Lynn so they could meet. According to Lynn, the pair became close friends "right away". Lynn later described their friendship in detail, "She taught me a lot about show business, like how to go on a stage and how to get off. She even bought me a lot of clothes...She even bought me curtains and drapes for my house because I was too broke to buy them...She was a great human being and a great friend." Lynn also noted they became so close that Cline even gave her underwear. Lynn still has the underwear in storage, saying it was "well-made".
Dottie West was another female country artist with whom Cline became friends. They first met backstage at the Grand Ole Opry. West wrote Cline a fan letter after hearing her first hit "Walkin' After Midnight". According to West, Cline "showed a genuine interest in her career" and they became close friends. The pair often spent time at their homes and worked on packaged tour dates together. West also stated Cline was a supportive friend who helped out in times of need.
Jan Howard was a third female artist with whom Cline had a close friendship. The pair first met when Cline tried starting an argument with Howard backstage at the Grand Ole Opry. She said to Howard, "You're a conceited little son of a bitch! You just go out there, do your spot, and leave without saying hello to anyone." Howard was upset and replied angrily back. Cline then laughed and said, "Slow down! Hoss, you're all right. Anybody that'll stand there and talk back to the Cline like that is all right...I can tell we're gonna be good friends!" The pair remained close for the remainder of Cline's life. Other friendships Cline had with female artists included Brenda Lee, Barbara Mandrell and pianist Del Wood. She also became friends with male country artists including Roger Miller, who helped Cline find material to record. Faron Young was another male artist whom Cline befriended from working on tour together. While on tour, the pair would spend time together, including a trip to Hawaii where the pair saw a hula show.
Family
Cline's mother Hilda Hensley continued living in Winchester, Virginia following her daughter's death. She rented out the family's childhood home on South Kent Street and lived across the street. Following Cline's death, Hensley briefly spent time raising her two grandchildren in Virginia. Hensley maintained a closet full of her daughter's stage costumes, including a sequined dress Cline wore while performing in Las Vegas in 1962. She worked as a seamstress and made many of her daughter's stage costumes. Hensley died from natural causes in 1998. Cline's father Samuel Hensley died of lung cancer in 1956. Hensley had previously deserted the family in 1947 and shortly before his death, Cline and her mother visited him at a hospital in Martinsburg, West Virginia. After discovering his current state, Cline said to her mother, "Mama, I know what-all he did, but it seems he's real sick and may not make it. In spite of everything, I want to visit him." Both of Cline's surviving siblings fought in court over their mother's estate. Because of legal fees, many of Cline's possessions were sold at auction.
Cline had two surviving children at the time of her death: Julie Simadore (born 1958) and Allen Randolph "Randy" (born 1961). Julie has been a significant factor in keeping her mother's legacy alive. She has appeared at numerous public appearances in support of her mother's music and career. Following the death of her father in 2015, she helped open a museum dedicated to Cline in Nashville, Tennessee. Julie has few memories of her mother due to Cline's death while she was young. In an interview with People Magazine, Julie discussed her mother's legacy, "I do understand her position in history, and the history of Nashville and country music...I'm still kind of amazed at it myself, because there's 'Mom' and then there's 'Patsy Cline,' and I'm actually a fan."
The present day American female blues, swing, and rock and roll singer, songwriter and record producer, Casey Hensley, is a distant relation of Cline's.
Marriages
Cline was married twice. Her first marriage was to Gerald Cline, on March 7, 1953. His family had owned a contracting and excavating company in Frederick, Maryland. According to Cline's brother Sam, he liked "flashy cars and women." The two met while she was performing with Bill Peer at the Moose Lodge in Brunswick, Maryland. According to Gerald Cline, "It might not have been love at first sight when Patsy saw me, but it was for me." Gerald Cline often took her to "one-nighters" and other concerts she performed in. Although he enjoyed her performances, he could not get used to her touring and road schedule. Patsy had told a friend during their marriage that she didn't think she "knew what love was" upon marrying Gerald. The pair began living separately by the end of 1956 and divorced in 1957.
Cline married her second husband Charlie Dick on September 15, 1957. The pair met in 1956 while Cline was performing with a local Virginia band. At the time, Dick was a linotype operator for local newspaper, The Winchester Star. According to Dick, he had asked Cline to dance and she replied, "I can't dance while I'm working, okay?" They eventually started spending time together and Cline began telling close friends about their relationship. Cline told Grand Ole Opry pianist Del Wood in 1956, "Hoss, I got some news. I met a boy my own age who's a hurricane in pants! Del, I'm in love, and this time, it's for real." The pair had children Julie and Randy together. Their relationship was considered both romantic and tempestuous. According to Robert Oermann and Mary Bufwack, Cline and Dick's marriage was "fueled by alcohol, argument, passion, jealousy, success, tears and laughter." According to biographer Ellis Nassour, the pair fought often but remained together. They had gained a reputation as "heavy drinkers", but according to Dick himself, they were not "drunks". During one particular fight, Cline had Dick arrested after they became physical with one another. Following Cline's death in 1963, Dick married country artist Jamey Ryan in 1965. The pair divorced in the early 1970s after having one child together. Dick helped with keeping Cline's legacy alive for the remainder of his own life. He assisted in producing several documentaries about Cline's career including Remembering Patsy and The Real Patsy Cline. He became involved with Hallway Productions in the 1990s and helped produce videos on other artists including Willie Nelson and The Mamas and the Papas. Dick died in 2015.
Death
On March 3, 1963, Cline performed a benefit at the Soldiers and Sailors Memorial Hall, Kansas City, Kansas, for the family of disc jockey "Cactus" Jack Call; he had died in an automobile crash a little over a month earlier. Also performing in the show were George Jones, George Riddle and The Jones Boys, Billy Walker, Dottie West, Wilma Lee and Stoney Cooper, George McCormick, the Clinch Mountain Boys as well as Cowboy Copas and Hawkshaw Hawkins. Despite having a cold, Cline gave three performances: 2:00, 5:15 and 8:15 pm. All the shows were standing-room only. For the 2 p.m. show, she wore a sky-blue tulle-laden dress; for the 5:15 show a red shocker; and for the closing show at 8 p.m., Cline wore white chiffon. Her final song was the last she had recorded the previous month, "I'll Sail My Ship Alone".
Cline, who had spent the night at the Town House Motor Hotel, was unable to fly out the day after the concert because Fairfax Airport was fogged in. West asked Patsy to ride in the car with her and husband, Bill, back to Nashville, a 16-hour drive, but Cline refused, saying, "Don't worry about me, Hoss. When it's my time to go, it's my time." On March 5, she called her mother from the motel and checked out at 12:30 p.m., going the short distance to the airport and boarding a Piper PA-24 Comanche plane, aircraft registration number N7000P. On board were Cline, Copas, Hawkins and pilot Randy Hughes.
The plane stopped once in Rogers, Arkansas to refuel and subsequently landed at Dyersburg Municipal Airport in Dyersburg, Tennessee at 5 p.m. Hawkins had accepted Billy Walker's place after Walker left on a commercial flight to take care of a stricken family member. The Dyersburg, Tennessee, airfield manager suggested that they stay the night because of high winds and inclement weather, offering them free rooms and meals. But Hughes, who was not trained in instrument flying, said "I've already come this far. We'll be there before you know it." The plane took off at 6:07 p.m.
Cline's flight crashed in heavy weather on the evening of Tuesday, March 5, 1963. Her recovered wristwatch had stopped at 6:20 p.m. The plane was found some from its Nashville destination, in a forest outside of Camden, Tennessee. Forensic examination concluded that everyone aboard had been killed instantly. Until the wreckage was discovered the following dawn and reported on the radio, friends and family had not given up hope. Endless calls tied up the local telephone exchanges to such a degree that other emergency calls had trouble getting through. The lights at the destination Cornelia Fort Airpark were kept on throughout the night, as reports of the missing plane were broadcast on radio and TV.
Early in the morning, Roger Miller and a friend went searching for survivors: "As fast as I could, I ran through the woods screaming their names—through the brush and the trees—and I came up over this little rise, oh, my God, there they were. It was ghastly. The plane had crashed nose down." Shortly after the bodies were removed, looters scavenged the area. Some of the items which were recovered were eventually donated to the Country Music Hall of Fame. Among them were Cline's wristwatch, a Confederate flag cigarette lighter, studded belt and three pairs of gold lamé slippers. Cline's fee in cash from the last performance was never recovered. Per her wishes, Cline's body was brought home for her memorial service, which thousands attended. People jammed against the small tent over her gold casket and the grave to take all the flowers they could reach as keepsakes. She was buried at Shenandoah Memorial Park in her hometown of Winchester, Virginia. Her grave is marked with a bronze plaque, which reads: "Virginia H. Dick ('Patsy Cline' is noted under her name) 'Death Cannot Kill What Never Dies: Love'." A memorial marks the exact place off Mt Carmel Road in Camden, Tennessee, where the plane crashed in the still-remote forest.
Posthumous releases
Music
Since Cline's death, Decca Records (later bought by MCA) has re-released her music which has made her commercially successful posthumously. The Patsy Cline Story was the first compilation album the label released following her death. It included the songs "Sweet Dreams (Of You)" and "Faded Love". Both tracks were released as singles in 1963. "Sweet Dreams" would reach number 5 on the Billboard country charts and 44 on the Hot 100. "Faded Love" would also become a top 10 hit on the Billboard country chart, peaking at number 7 in October 1963. In 1967, Decca released the compilation Patsy Cline's Greatest Hits. The album would not only peak at number 17 on the Billboard country chart, but also certified diamond in sales from the Recording Industry Association of America. In 2005, the Guinness World Book of Records included Greatest Hits for being the longest album on any record chart by any female artist.
Cline's music continued making the charts into the 1980s. Her version of "Always" made the Billboard country chart in 1980. An album of the same was also released in 1980 that peaked within the top 30 on the Billboard Top Country Albums chart. Two overdubbed duets between Cline and Jim Reeves became major hits during this time as well. Following the release of the Loretta Lynn biopic Coal Miner's Daughter (1980), there was renewed interest in Cline's career. Therefore, MCA Records reissued much of Cline's earlier studio and compilation releases. Her 1967 greatest hits album for example was repackaged in 1988 and labeled 12 Greatest Hits. The record reached number 27 on the Top Country Albums list in 1990. The soundtrack for Cline's own film biopic was released concurrently with the movie in 1985. The soundtrack would peak at number 6 on the Billboard country albums chart upon its release.
In 1991, MCA records issued her first box set entitled The Patsy Cline Collection. The album chronicled all of Cline's recorded material for Four Star and Decca Records. The boxed set received positive reviews, notably by Thom Jurek of Allmusic who rated it five out of five stars. Jurek commented, If an artist ever deserved a box set chronicling her entire career, it is Patsy Cline. Having recorded 102 sides between 1955 and her death at the age of 30 in 1963, Cline changed not only country music forever, but affected the world of pop as well. Over four CDs, arranged chronologically, the listener gets treated to a story in the development and maturation of a cultural icon who was at least, in terms of her gift, the equal of her legend. Rolling Stone listed the box set among their "50 Greatest Albums of All-Time". Writer Rob Sheffield called Cline "a badass cowgirl drama queen belts some of the torchiest, weepiest country songs ever, hitting high notes that make you sob into your margarita." The Patsy Cline Collection would reach number 29 on the Billboard country albums chart in January 1992. In 1997, MCA released Live at the Cimarron Ballroom, a rare recording that had recently resurfaced. Jeweler Bill Frazee had originally purchased a tape in 1975 which he discovered included Cline's live recording. The live performance on the record took place in July 1961, following Cline's car accident. She appeared at the Cimarron Ballroom in Tulsa, Oklahoma to give a one-night performance. Included on the record was unreleased live performances and dialog with the audience. The album peaked in the top 40 of the Billboard country albums chart. Cline's former MCA label continues releasing material to this day. Cline is listed among the Recording Industry of America's "Best Selling Artists" with a total of over 14 million records sold to date.
Film and television
Cline has been portrayed on film and television several times since the 1980s. The Loretta Lynn biopic Coal Miner's Daughter (1980) renewed interest in her life and career. Cline and Lynn's friendship was portrayed in the 1980 film. Actress Beverly D'Angelo played Cline in the movie and did her own singing of Cline's original material. D'Angelo earned a Golden Globe award nomination for her role. In an interview D'Angelo did for a 2017 PBS documentary, playing the role of Patsy Cline "had a profound impact" on her life and career.
In 1985, a feature film about Cline's life was released entitled Sweet Dreams. The film starred Jessica Lange as Cline and Ed Harris as husband Charlie Dick. Originally, Meryl Streep auditioned for Cline's role but ultimately lost to Lange. The film was produced by Bernard Schwartz, who also produced Coal Miner's Daughter. Original ideas called for scenes between Cline and Lynn, however they were ultimately removed from the final script. The film has been criticized for its lack of accuracy to Cline's own life and its musical production. Kurt Wolff wrote, "the soundtrack, however, featured overdubbed versions of Cline's material – better to stick with the originals." Mark Deming of Allmovie only gave the release two out of five stars. Deming commented, "While it's a wise approach to show how her turbulent marriage paralleled her crossover to Countrypolitan ballads, the melodrama tends to overshadow the celebrity story by relegating her rise to stardom to the background. Due to the historically dubious concerts at carnivals and fairgrounds, it appears as though she wasn't as big a star as she actually was." Deming did praise Lange's performance saying she created a "cheerful and spirited" depiction of Cline. Roger Ebert gave it two stars in his original 1985 review. Ebert said, "There isn't the sense of a well-shaped structure in this movie; there's no clear idea of what the filmmakers thought about Patsy Cline, or what thoughts her life is supposed to inspire." Lange was nominated for an Academy Award for Best Actress for her role as Cline.
Cline was also portrayed in television films. In 1995, a film about the life and career of Cline's friend Dottie West debuted on CBS titled, Big Dreams and Broken Hearts: The Dottie West Story. It included several scenes that showcased West's friendship with Cline. Actress Tere Myers played her in the television movie. Deborah Wilker of the Sun-Sentinel called her performance "terrific" and authentic.
Lifetime aired an original television film Patsy & Loretta in October 2019 on the network. It chronicles Cline's friendship with Loretta Lynn. Cline is portrayed by Megan Hilty and Lynn by Jessie Mueller. The film is directed by the Academy Award-winning screenwriter Callie Khouri. The trailer for the movie was released in July 2019. Patsy & Loretta was filmed on location in Nashville, Tennessee and is co-produced by Lynn's daughter and Cline's daughter, Julie Fudge.
There have been several documentaries made about Cline's life and career. The first was a 1989 documentary entitled The Real Patsy Cline which featured interviews with friends and fellow artists. This included Carl Perkins and Willie Nelson. Another documentary was filmed in 1994 entitled Remembering Patsy. The show was hosted by country artist Michelle Wright, who read letters Cline wrote to friends and family. It included interviews with several artists such as Roy Clark, George Jones and Trisha Yearwood. Both documentaries were produced by Cline's widower Charlie Dick. In March 2017, PBS released a documentary on Cline as part of their American Masters series. The film was narrated by Rosanne Cash and featured interviews with fans of Cline. These interviews included Beverly D'Angelo and Reba McEntire. It also included rare performances of songs such as "Three Cigarettes (In an Ashtray)" and "Walkin' After Midnight".
Plays and musicals
Cline's life and career has also been re-created in the theater sector. In 1988, the show Always...Patsy Cline premiered. The show was created by Ted Swindley who derived it from a friendship Cline had with Texas resident Louise Seger. The pair met while Cline was performing at the Esquire Ballroom in Houston, Texas. Seger brought Cline home following the show and they spent the night together. The pair would remain in contact through letters before Cline's death. Much of the script relied from letters exchanged between the two during the course of several years. Seger acts as the show's narrator and revisits memories she shared with Cline through their letter exchanges. Among the show's original performers was Mandy Barnett, who debuted the show at the Ryman Auditorium in 1994. Barnett would go on to have a music and performing career. A second musical was later released in 1991 titled A Closer Walk with Patsy Cline. The show was written by Dean Regan and has been called a "musical retelling" of Cline's career.
Artistry
Influences
Cline was influenced by various music artists. Among her earliest influences were pop singers of the 1940s and 1950s. These included Kay Starr, Helen Morgan, Patti Page, and Kate Smith. Patti Page recollected that Cline's husband said to her, "I just wish Patsy could have met you because she just adored you and listened to you all the time and wanted to be like you." Among her primary influences was Kay Starr, of whom Cline was a "fervent devotee" according to The Washington Post. Jack Hurst of the Chicago Tribune remarked that "Her rich, powerful voice, obviously influenced by that of pop's Kay Starr, has continued and perhaps even grown in popularity over the decades." Cline was also attracted to country music radio programs, notably the Grand Ole Opry. According to Mary Bufwack and Robert Oermann, Cline became "obsessed" with the program at a young age. Cline's mother Hilda Hensley commented on her daughter's admiration, "I know she never wanted anything so badly as to be a star on the Grand Ole Opry..." Among performers from the program she admired was Patsy Montana. Cline was also influenced by other types of performers including early rockabilly artist Charline Arthur.
Voice and style
Cline possessed a contralto voice. Time magazine writer Richard Corliss called her voice "bold". Her voice has also been praised for its display of emotion. Kurt Wolff called it one of the most "emotionally expressive voices in modern country music". Tony Gabrielle of the Daily Press wrote that Cline had "a voice of tremendous emotional power." Cline was at times taken by her own emotion. Husband Charlie Dick recounted that Cline's producer Owen Bradley told him to leave a recording session because she was very emotional and he didn't want to disturb the mood. Cline was once quoted in describing the emotion she felt, saying, "Oh Lord, I sing just like I hurt inside."
During her early career, Cline recorded in styles such as gospel, rockabilly, and honky-tonk. These styles she cut for Four Star Records have been considered below the quality of her later work for Decca Records. Steve Leggett of Allmusic commented, Her recordings prior to 1960, though, were something else again, and with the exception of 1956's "Walkin' After Midnight" and perhaps one or two other songs, she seemed reined in and stifled as a singer, even though she was working with the same producer, Owen Bradley, who was to produce her 1960s successes. Oh the difference a song makes, because in the end the material she recorded between 1955 and 1960 – all of which is collected on these two discs – was simply too weak for Cline to turn into anything resembling gold, even with her obvious vocal skills.
Cline's style has been largely associated with the Nashville Sound, a sub-genre of country music that linked traditional lyrics with orchestrated pop music styles. This new sound helped many of her singles to crossover onto the Billboard Hot 100 and gain a larger audience that did not always hear country music. Her producer Owen Bradley built this sound onto her Decca recordings, sensing a potential in her voice that went beyond traditional country music. At first, she resisted the pop-sounding style, but was ultimately convinced to record in this new style. Stephen M. Desuner of Pitchfork explained that Cline has been an identifiable factor with the Nashville Sound: "She essentially rewrote their songs simply by singing them, elevating their words and wringing every one of their rhymes for maximum dramatic potential." Mark Deming of Allmusic commented, "Cline and Bradley didn't invent "countrypolitan," but precious few artists managed to meld the sophistication of pop and the emotional honesty of country as brilliantly as this music accomplishes with seemingly effortless grace, and these songs still sound fresh and brilliantly crafted decades after the fact."
Image
Cline's public image changed during the course of her career. She began her career wearing cowgirl dresses and hats designed by her mother. However, as her music crossed over into pop, she began wearing sequined gowns and cocktail dresses. While she would often wear cowgirl costumes for live performances, she would also wear evening dresses for television and metropolitan performances. For her 1957 performance on Arthur Godfrey's Talent Scouts, the show's producer insisted that Cline wear an evening dress instead of the fringed cowgirl attire she had intended to wear. Her 1962 engagement at the Merri-Mint Theatre in Las Vegas represented this particular image shift. For one of her performances, Cline wore a sequined cocktail dress designed by her mother.
Cline has also been seen as a pioneer for women in country music. She has been cited as an inspiration by many performers in diverse styles of music. Kurt Wolff of Country Music: The Rough Guide said that Cline had an "aggression" and "boisterous attitude" that gained her the respect of her male counterparts. Wolff explained, "She swaggered her way past stereotypes and other forces of resistance, showing the men in charge – and the public in general – that women were more than capable of singing about such hard subjects as divorce and drinking as well as love and understanding. Sean O'Hagan of The Guardian commented that along with Minnie Pearl, Jean Shepard and Kitty Wells, Cline helped prove that country music was not "macho" and that "strong women" could have a "strong voice". In 2013, The Washington Post wrote, "she was what I call a pre-feminist woman. She didn't open doors; she kicked them down." Mary Bufwack and Robert K. Oermann wrote in 2003 that Cline "transformed what it meant to be a female country star".
Legacy
Cline has been cited in both country and pop music as of one of the greatest vocalists of all-time. Her voice has also been called "haunting", "powerful", and "emotional". Cline's emotional expression and delivery of lyrics helped influence various musical genres and artists. With the support of producer Owen Bradley, Cline has been said to "help define" the Nashville Sound style of country music. While the subgenre has received mixed opinions, it has also been said to be a significant part of country music's "authenticity", with Cline being the center focal point of the subgenre. Other artists have noted her impact, including LeAnn Rimes who stated, "I remember my dad telling me to listen to the way she told a story... I remember feeling more emotion when she sang than anyone else I had ever heard." Lucinda Williams commented on Cline's vocal talent in helping define her legacy, stating, "Even though her style is considered country, her delivery is more like a classic pop singer... That's what set her apart from Loretta Lynn or Tammy Wynette. You'd almost think she was classically trained."
Cline has been a major influence on various music artists including Reba McEntire, Loretta Lynn, LeAnn Rimes, k.d. lang, Linda Ronstadt, Trisha Yearwood, Sara Evans, Dottie West, Kacey Musgraves, Margo Price, Cyndi Lauper, Trixie Mattel and Brandi Carlile. Dottie West (also a close friend of Cline's) spoke about her influence on her own career, "I think I was most influenced by Patsy Cline, she said things for people. There was so much feeling in there. In fact, she told me, 'Hoss, if you can't do it with feeling, don't'". In 2019, Sara Evans discussed how Cline has been an influence since she was a young girl, "I learned everything I could learn about her. I tried to mimic her singing to the ‘t’. We grew up singing in bars — my brothers, sisters and I — from the time I was really little. So I started covering every Patsy Cline song. Then when I first got my record deal I came to Winchester to visit a radio station to try to get them to play my song Three Chords and the Truth."
In 1973, Cline was inducted into the Country Music Hall of Fame. With the induction, she became the first solo female artist to be included. In 1977, Cline's friend and mentee Loretta Lynn released a tribute album entitled I Remember Patsy. The record contained covers of Cline's songs, including "Back in Baby's Arms" and "Crazy". The album's lead single was "She's Got You", which would reach the number 1 spot on the Billboard country chart in 1977. In 1995, Cline received a Grammy Lifetime Achievement Award for her legacy and career. Additionally, her hits "I Fall to Pieces" and "Crazy" received inductions into the Grammy Hall of Fame.
In 1993, Cline was included on United States postal stamps as part of their "Legends" series. Other country artists that were included on stamp series were The Carter Family, Hank Williams, and Bob Wills. The stamps were dedicated in an official ceremony at the Grand Ole Opry by Postmaster General Marvin Runyon. In August 1999, Cline received a star on the Hollywood Walk of Fame. The ceremony was attended by her widower Charlie Dick and daughter Julie Fudge. During the 1990s, two of her songs were voted among the "Greatest Juke Box Hits of All-Time". "Crazy" was voted as the number 1 greatest, along with "I Fall to Pieces" ranking at number 17.
Since the late 1990s, she received additional rankings and honors. In 1999, Cline was ranked at number 11 among VH1's list of the "100 Greatest Women of Rock and Roll". In 2003, she was included by Country Music Television on their list of the "40 Greatest Women of Country Music". In 2010, Cline ranked at number 46 on Rolling Stones list of the "100 Greatest Singers of All-Time". The magazine would rank her on their 2017 list of the "100 Greatest Country Artists of All-Time", where she placed at number 12.
Forty years after her death, MCA Nashville released a tribute album entitled Remembering Patsy Cline (2003). A television special also followed around the same time. The album consisted of cover versions of songs taken from Cline's 1967 greatest hits album. It included songs covered by country artists such as Terri Clark and Martina McBride. It also featured artists from other genres such as Michelle Branch, Diana Krall and Patti Griffin.
Cline's hometown of Winchester, Virginia has helped honor her legacy and career. In 1987, the local government approved the placing of markers within the town denoting it as the birthplace of Cline. The same year, a bell tower was erected in her burial location at Shenandoah Memorial Park. The bell tower cost thirty five thousand dollars and was partially funded by Cline's friends Jan Howard and Loretta Lynn. In 2005, Cline's childhood home was given an official on-site marker and included on the National Register of Historic Places. With the development of an organization entitled Celebrating Patsy Cline Inc., renovations began on Cline's childhood home. In August 2011, the Patsy Cline House officially opened as a historic home for tours. In almost three months, about three thousand people visited the home. The home was restored to the era in which Cline lived in it during the 1950s with her mother and siblings. Replicas of furniture and stage clothes are also included. Daughter Julie Fudge spoke of the house in 2011, stating, “I think when you go into the house, you will kind of feel like this is a snapshot of what it would have been like to visit when Mom lived there.”
In 2017, the Patsy Cline Museum opened in Nashville, Tennessee, located at 119 3rd Ave. S., on the second floor in the same building as the Johnny Cash Museum. The museum includes Cline's actual stage costumes, as well as her original scrapbook and record albums. The Patsy Cline Museum features other artifacts, such as the soda fountain machine from Gaunt's Drug Store, where Cline worked as a teenager. Original letters that Cline wrote to friends are also included as part of the museum.
Discography
Studio albums
1957: Patsy Cline
1961: Patsy Cline Showcase
1962: Sentimentally Yours
Posthumous studio albums
1964: A Portrait of Patsy Cline
1964: That's How a Heartache Begins
1980: Always
References
Footnotes
Books
Further reading
Bego, Mark. I Fall to Pieces: The Music and the Life of Patsy Cline. Adams Media Corporation.
Hazen, Cindy and Mike Freeman. Love Always, Patsy. The Berkley Publishing Group.
Jones, Margaret (1998). "Patsy Cline". In The Encyclopedia of Country Music. Paul Kingsbury, Editor. New York: Oxford University Press. pp. 98–9.
Gomery, Douglas Patsy Cline: The Making of an Icon. Trafford Publishing.
External links
Celebrating Patsy Cline an official organization sponsoring several projects
Patsy Cline Home and Museum located in Winchester, Virginia
Patsy Cline recordings at the Discography of American Historical Recordings.
The Patsy Cline Plane Crash
1932 births
1963 deaths
20th-century American composers
20th-century American singers
20th-century American women singers
20th-century women composers
Accidental deaths in Tennessee
American contraltos
American country singer-songwriters
American women composers
American women country singers
American women pop singers
American women singer-songwriters
American rockabilly musicians
Country Music Hall of Fame inductees
Country musicians from Tennessee
Country musicians from Virginia
Cowgirl Hall of Fame inductees
Deaths in Tennessee
Decca Records artists
Four Star Records artists
Grammy Lifetime Achievement Award winners
Grand Ole Opry members
People from Goodlettsville, Tennessee
People from Winchester, Virginia
Rock and roll musicians
Singer-songwriters from Virginia
Torch singers
Traditional pop music singers
Victims of aviation accidents or incidents in 1963
Victims of aviation accidents or incidents in the United States
Musicians killed in aviation accidents or incidents
Singer-songwriters from Tennessee
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"The Confidential Information Protection and Statistical Efficiency Act, (\"CIPSEA\"), is a United States federal law enacted in 2002 as Title V of the E-Government Act of 2002 (, , ). \n\nCIPSEA establishes uniform confidentiality protections for information collected for statistical purposes by U.S. statistical agencies, and it allows some data sharing between the Bureau of Labor Statistics, Bureau of Economic Analysis, and Census Bureau. The agencies report to OMB on particular actions related to confidentiality and data sharing.\n\nThe law gives the agencies standardized approaches to protecting information from respondents so that it will not be exposed in ways that lead to inappropriate or surprising identification of the respondent. By default the respondent's data is used for statistical purposes only. If the respondent gives informed consent, the data can be put to some other use.\n\nCIPSEA did not give the statistical agencies new opportunities to use federal data on business taxes in combination with the other sources for statistical purposes. Such data is protected by Title 26 and new laws would be required to enable the other agencies to use such data, which could help them improve the classifications of business into industries and thus improve the accuracy of industry statistics. Later proposals address this prospect.\n\nA reauthorization of CIPSEA in 2018-19 gave the statistical agencies more opportunities to use administrative data for statistical purposes, and required them to more deeply analyze risks to privacy and confidentiality of respondents.\n\nReferences\n\nActs of the 107th United States Congress\nUnited States federal government administration legislation",
"Samikssha Batnagar is an Indian actress who was seen in various Hindi serials on Star Plus and Zee TV until 2014 in both supporting as well as lead roles. She did a cameo in Madhur Bhandarkar's Calendar Girls, released in the year 2015, marking her Bollywood debut and in 2017 she acted in the Shreyas Talpade-directed movie Poster Boys, opposite Bobby Deol, which is her first lead role opposite a popular actor.\n\nCareer\n\nEarly stage \nSamikssha Batnagar is from Dehradun, Uttarakhand. She learnt classical Kathak dance and classical music during her childhood. With passion for the same, she shifted to Delhi to explore opportunities in dancing. This she considers as the learning stage of her life and also calls it the golden period owing to the experiences she had. She set up a Dance Academy as the Chief Choreographer in 2008 and it was functional until 2010.\n\nCareer in television \nAfter exploring opportunities in Delhi on Classical Dancing, Samikssha came to Mumbai to explore opportunities in acting. She considers to have had a dream of becoming an actor while pursuing dancing. The first break she got in acting was in some of the Hindi soap operas that were featured in Star Plus and Zee TV. Her biggest break was when she got to play the lead role in Ek Veer Ki Ardaas...Veera (Star Plus). Followed by this, she appeared in Uttaran (Star Plus), Devon Ke Dev...Mahadev (Life OK), Baal Veer (SAB TV), Kum Kum Bhagya (Zee TV) and a few other well-known serials.\n\nMovie debut \nShe cameoed in Madhur Bhandarkar's Calendar Girls in 2015. Followed by this, Samiksha Bhatnagar finished shooting for the Shreyas Talpade directed Poster Boys, which features Sunny Deol and Bobby Deol as well as Shreyas Talpade himself in the lead role. In the movie, she plays the character of Surajmukhi opposite Bobby Deol. The movie is releasing on 8 September 2017.\n\nTheatre \nAdded to movies, Samikssha Batnagar also featured in Ranga Theatre's Rashomon Blues as a Journalist.\n\nFilmography\n\nFilms\n\nTelevision \n\n Theatre\n\nReferences \n\n Name Change: https://www.tribuneindia.com/news/lifestyle/samiksha-bhatnagar-is-now-samikssha-batnagar-243931\n Eliminate Smoking Scene: https://in.style.yahoo.com/samikssha-batnagar-demands-eliminate-smoking-082517529.html\n\nExternal links \n \n \n \n \n\nLiving people\nPlace of birth missing (living people)\nIndian television actresses\nIndian soap opera actresses\nActresses from Dehradun\nYear of birth missing (living people)\nActresses in Hindi cinema\nActresses in Hindi television\nIndian stage actresses\n21st-century Indian actresses"
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"Patsy Cline",
"Early years",
"Was she musical from childhood?",
"She was the eldest child of seamstress Hilda Virginia (nee Patterson, 1916-1998) and blacksmith Samuel Lawrence Hensley (1889-1956).",
"When did she discover she had talent for singing?",
"When Patsy was 13,",
"When did she start singing professionally?",
"she asked WINC (AM) disc jockey Jimmy McCoy if she could sing on his show. Her performance in 1947 was well received",
"Did that lead to other opportunities?",
"This led to appearances at local nightclubs wearing fringed Western outfits that her mother made from Patsy's designs."
] |
C_eb67cd934c274c28837e9c932e60a6af_1
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What city or town was that in?
| 5 |
What city or town did Patsy Cline appear at local nightclubs in?
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Patsy Cline
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Patsy Cline was born Virginia Patterson Hensley on September 8, 1932 in Winchester, Virginia, in the city's Memorial Hospital. She was the eldest child of seamstress Hilda Virginia (nee Patterson, 1916-1998) and blacksmith Samuel Lawrence Hensley (1889-1956). She had a brother Samuel Jr. (1939-2004) and a sister Sylvia. The family moved often before finally settling in Winchester, Virginia when Patsy was 16. Sam Hensley deserted his family in 1947, but the children's home was reportedly happy nonetheless. When Patsy was 13, she was hospitalized with a throat infection and rheumatic fever. She later said, "The fever affected my throat and when I recovered I had this booming voice like Kate Smith." Cline enrolled at John Handley High School but never attended classes. To help her mother support their family, she worked as a soda jerk at Gaunt's Drug Store and a waitress at the Triangle Diner. She watched performers through the window at the local radio station, and she asked WINC (AM) disc jockey Jimmy McCoy if she could sing on his show. Her performance in 1947 was well received and she was asked back. This led to appearances at local nightclubs wearing fringed Western outfits that her mother made from Patsy's designs. Cline performed in variety and talent shows in the Winchester and Tri-State areas, and she gained a large following through the shows and local radio appearances. Jimmy Dean was already a country star in 1954, and she became a regular with him on Connie B. Gay's Town and Country Jamboree radio show on WAVA (AM) in Arlington County, Virginia. CANNOTANSWER
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Cline performed in variety and talent shows in the Winchester and Tri-State areas,
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Patsy Cline (born Virginia Patterson Hensley; September 8, 1932 – March 5, 1963) was an American singer. She is considered one of the most influential vocalists of the 20th century and was one of the first country music artists to successfully cross over into pop music. Cline had several major hits during her eight-year recording career, including two number-one hits on the Billboard Hot Country and Western Sides chart.
Cline's first professional performances began at the local WINC radio station when she was fifteen. In the early 1950s, Cline began appearing in a local band led by performer Bill Peer. Various local appearances led to featured performances on Connie B. Gay's Town and Country television broadcasts. It also led to the signing of her first recording contract with the Four Star label in 1954. She had minor success with her earliest Four Star singles including "A Church, a Courtroom, Then Goodbye" (1955) and "I've Loved and Lost Again" (1956). In 1957 however, Cline made her first national television appearance on Arthur Godfrey's Talent Scouts. After performing "Walkin' After Midnight", the single would become her first major hit on both the country and pop charts.
Cline's further singles with Four Star Records were unsuccessful, although she continued performing and recording. After marrying in 1957 and giving birth in 1958, she moved to Nashville, Tennessee, to further her career. Working with new manager Randy Hughes, Cline would become a member of the Grand Ole Opry and then move to Decca Records in 1960. Under the direction of producer Owen Bradley, her musical sound shifted and she achieved consistent success. The 1961 single "I Fall to Pieces" would become her first to top the Billboard country chart. As the song became a hit, Cline was severely injured in an automobile accident, which caused her to spend a month in the hospital. After she recovered, her next single release "Crazy" would also become a major hit.
Between 1962 and 1963, Cline had hits with "She's Got You", "When I Get Through with You", "So Wrong" and "Leavin' on Your Mind". She also toured and headlined shows with more frequency. In March 1963, Cline was killed in a plane crash along with country performers Cowboy Copas, Hawkshaw Hawkins and manager Randy Hughes, during a flight from Kansas City, Kansas back to Nashville.
Since her death, Cline has been cited as one of the most celebrated, respected and influential performers of the 20th century. Her music has influenced performers of various styles and genres. She has also been seen as a forerunner for women in country music, being among the first to sell records and headline concerts. In 1973, she became the first female performer to be inducted into the Country Music Hall of Fame. In the 1980s, Cline's posthumous successes continued in the mass media. She was portrayed twice in major motion pictures, including the 1985 biopic Sweet Dreams starring Jessica Lange. Several documentaries and stage shows were released during this time, including the 1988 musical Always...Patsy Cline. A 1991 box set of her recordings was issued that received critical acclaim. Her greatest hits album sold over 10 million copies in 2005. In 2011, Cline's childhood home was restored as a museum for visitors and fans to tour. In 2017, Cline’s Dream Home in Nashville, TN was placed on the Tennessee Historical Markers List by the Patsy Cline Fan Home Owners, Steven Shirey and Thomas Corritore.
Early life
Cline was born Virginia Patterson Hensley in Winchester, Virginia on September 8, 1932, to Hilda Virginia (née Patterson; 1916–1998) and Samuel Lawerence Hensley (1889–1956). Mrs. Hensley was only 16 years old at the time of Cline's birth. Sam Hensley had been married before; Cline had two half siblings (aged 12 and 15) that lived with a foster family because of their mother's death years before. After Cline, Hilda Hensley would also have Samuel Jr. (called John) and Sylvia Mae. Besides being called "Virginia" in her childhood, Cline was also referred to as "Ginny". She temporarily lived with her mother's family in Gore, Virginia before relocating many times throughout the state. In her childhood, the family relocated where Samuel Hensley, a blacksmith, could find employment, including Elkton, Staunton, and Norfolk. When the family had little money, she would find work. This included an Elkton poultry factory, where her job was to pluck and cut chickens. The family moved often before finally settling in Winchester, Virginia on South Kent Street. Cline would later report that her father sexually abused her. When confiding about the abuse to friend Loretta Lynn, Cline told her, "take this to your grave". Hilda Hensley would later report details of the abuse to producers of Cline's 1985 biopic Sweet Dreams.
At age 13, Cline was hospitalized with a throat infection and rheumatic fever. Speaking of the incident in 1957 she said, "I developed a terrible throat infection and my heart even stopped beating. The doctor put me in an oxygen tent. You might say it was my return to the living after several days that launched me as a singer. The fever affected my throat and when I recovered I had this booming voice like Kate Smith's." It was during this time she developed an interest in singing. She started performing with her mother in the local Baptist choir. Mother and daughter also performed duets at church social events. She also taught herself how to play the piano.
With the new performing opportunities, Cline's interest in singing only grew further and at the age of 14, she told her mother that she was going to audition for the local radio station. Her first radio performances began at WINC in the Winchester area. According to WINC's radio disc jockey Joltin' Jim McCoy, Cline appeared in the station's waiting room one day and asked to audition. McCoy was impressed by her audition performance, reportedly saying, "Well, if you've got nerve enough to stand before that mic and sing over the air live, I've got nerve enough to let you." While also performing on the radio, Cline also started appearing in talent contests and created a nightclub cabaret act similar to performer Helen Morgan.
Cline's mother and father had marital conflicts during her childhood and by 1947, her father deserted the family. Author Ellis Nassour of the biography Honky Tonk Angel: An Intimate Story of Patsy Cline reported Cline had a "beautiful relationship" with her mother. In his interviews with Hilda Hensley, he quoted Cline's mother in saying they "were more like sisters" than parent and child. Upon entering the ninth grade, Cline enrolled at John Handley High School in Winchester, Virginia. However, the family had trouble sustaining an income after her father's desertion. Therefore, Cline dropped out of high school to help support the family. She began working at Gaunt's Drug Store in the Winchester area as a clerk and soda jerk.
Career
1948–1953: Early career
At age 15, Cline wrote a letter to the Grand Ole Opry asking for an audition. She told local photographer Ralph Grubbs about the letter, "A friend thinks I'm crazy to send it. What do you think?" Grubbs encouraged Cline to send it. Several weeks later, she received a return letter from the Opry asking for pictures and recordings. At the same time, Gospel performer Wally Fowler headlined a concert in her hometown. Cline convinced concert employees to let her backstage where she asked Fowler for an audition. Following a successful audition, Cline's family received a call asking for her to audition for the Opry. She traveled with her mother, two siblings, and a family friend on an eight-hour journey to Nashville, Tennessee. With limited finances, they drove overnight and slept in a Nashville park the following morning. Cline auditioned for Opry performer Moon Mullican the same day. The audition was well-received and Cline expected to hear from the Opry the same day. However, she never received news and the family returned to Virginia.
By the early 1950s, Cline continued performing around the local area. In 1952, she asked to audition for local country bandleader Bill Peer. Following her audition, she began performing regularly as a member of Bill Peer's Melody Boys and Girls. The pair's relationship turned romantic, continuing an affair for several years. Nonetheless, the pair remained married to their spouses. Peer's group played primarily at the Moose Lodge in Brunswick, Maryland where she would meet her first husband, Gerald Cline. Peer encouraged her to have a more appropriate stage name. She changed her first name from Virginia to Patsy (taken from her middle name "Patterson"). She kept her new last name, Cline. Ultimately, she became professionally known as "Patsy Cline".
In August 1953, Cline was a contestant in a local country music contest. She won 100 dollars and the opportunity to perform as a regular on Connie B. Gay's Town and Country Time. The show included country stars Jimmy Dean, Roy Clark, George Hamilton IV and Billy Grammer, and was filmed in Washington D.C. and Arlington, Virginia. She was not officially added to the program's television shows until October 1955. Cline's television performances received critical acclaim. The Washington Star magazine praised her stage presence, commenting, "She creates the moods through movement of her hands and body and by the lilt of her voice, reaching way down deep in her soul to bring forth the melody. Most female country music vocalists stand motionless, sing with monotonous high-pitched nasal twang. Patsy's come up with a throaty style loaded with motion and E-motion."
1954–1960: Four Star Records
In 1954, Bill Peer created and distributed a series of demonstration tapes with Cline's voice on it. A tape was brought to the attention of Bill McCall, president of Four Star Records. On September 30, 1954, she signed a two-year recording contract with the label alongside Peer and her husband Gerald Cline. The original contract allowed Four Star to receive most of the money for the songs she recorded. Therefore, Cline received little of the royalties from the label, totaling out to 2.34 percent on her recording contract. Her first recording session took place in Nashville, Tennessee on January 5, 1955. Songs for the session were handpicked by McCall and Paul Cohen. Four Star leased the recordings to the larger Decca Records. For those reasons Owen Bradley was chosen as the session's producer, a professional relationship that would continue into the 1960s. Her first single release was 1955's "A Church, a Courtroom, Then Goodbye". Although Cline promoted it with an appearance on the Grand Ole Opry the song was not successful.
Cline recorded a variety of musical styles while recording for Four Star. This included genres such as gospel, rockabilly, traditional country and pop. Writers and music journalists have had mixed beliefs on Cline's Four Star material. Robert Oermann and Mary Bufwack of Finding Her Voice: Women in Country Music called the label's choice of material "mediocre". They also commented that Cline seemed to have "groped for her own sound on the label". Kurt Wolff of Country Music the Rough Guide commented that the music was "sturdy enough, but they only hinted at the potential that lurked inside her. Richie Unterberger of Allmusic claimed it was Cline's voice that made the Four Star material less appealing: "Circumstances were not wholly to blame for Cline's commercial failures. She would have never made it as a rockabilly singer, lacking the conviction of Wanda Jackson or the spunk of Brenda Lee. In fact, in comparison with her best work, she sounds rather stiff and ill-at-ease on most of her early singles."
Between 1955 and 1956, Cline's four singles for Four Star failed to become hits. However, she continued performing regionally, including on the Town and Country Jamboree. In 1956, she appeared on ABC's Country Music Jubilee, Ozark Jubilee. It was at one of her local performances that she met her second husband, Charlie Dick. In 1956, Cline received a call to perform on Arthur Godfrey's Talent Scouts, a national television show she had auditioned for several months prior. She accepted the offer, using her mother Hilda Hensley as her talent scout for the show. According to the show's rules, talent scouts could not be family members. For those reasons, Cline's mother lied in order to appear on the show. When Arthur Godfrey asked if Hensley had known Cline her entire life, she replied, "Yes, just about!"
Cline and Mrs. Hensley flew into LaGuardia Airport in New York City on January 18, 1957. She made her debut appearance on the program on January 21. The day of the show, she met with the show's producer Janette Davis. Cline had chosen "A Poor Man's Roses (Or a Rich Man's Gold)" to perform on the program, but Davis preferred another song she had recorded, "Walkin' After Midnight". Cline initially refused to perform it, but ultimately agreed to it. Davis also suggested Cline wear a cocktail dress instead of the cowgirl outfit created by her mother. She performed "Walkin' After Midnight" and won the program's contest that night. The song had not yet been released as a single. In order to keep up with public demand, Decca Records rush-released the song as a single on February 11. The song ultimately became Cline's breakthrough hit, peaking at number 2 on the Billboard Hot Country and Western Sides chart. The song also reached number 12 on the Billboard pop music chart. The song has since been considered a classic in country music since its release.
Music critics and writers have positively praised "Walkin' After Midnight". Mary Bufwack and Robert Oermann called the song "bluesy". Richie Unterberger noted "it's well-suited for the almost bemused aura of loneliness of the lyric." The success of "Walkin' After Midnight" brought Cline numerous appearances on shows and major networks. She continued working for Arthur Godfrey over the next several months. She also appeared on the Grand Ole Opry in February and the television program Western Ranch Party in March. The money she had earned from her numerous engagements totaled out to ten thousand dollars. Cline gave all the money to her mother, which she used to the pay the mortgage on her Winchester house. In August 1957, her debut studio album was issued via Decca Records.
Cline's follow-up singles to "Walkin' After Midnight" did not yield any success. This was partially due to the quality of material chosen for her to record. Cline was dissatisfied with the limited success following "Walkin' After Midnight". Bradley recounted how she often came to him saying, "Hoss, can't you do something? I feel like a prisoner." Around the same time, Cline was fired from her regular slot on Town and Country Jamboree. According to Connie B. Gay, she ran late for shows and "showed up with liquor on her breath". In September 1957, Cline married Charlie Dick and he was soon sent to Fort Bragg, North Carolina on a military assignment. Cline also gave birth to her first daughter Julie. In hopes of restarting her career, Cline and her family moved to Nashville, Tennessee.
1960–1961: New beginnings and car accident
Cline's professional decisions yielded more positive results by the early 1960s. Upon moving to Nashville, she signed a management deal with Randy Hughes. She originally wished to work with Hubert Long, however, he was busy managing other artists. Instead, she turned her attention to Hughes. With the help of Hughes, she began working steadier jobs. He organized fifty dollar bookings and got her multiple performances on the Grand Ole Opry. In January 1960, Cline officially became a member of the Opry. When she asked general manager Ott Devine about a membership he replied, "Patsy, if that's all you want, you're on the Opry." Also in January 1960, Cline made her final recording sessions set forth in her contract with Four Star Records. Later that year, her final singles with the label were released: "Lovesick Blues" and "Crazy Dreams". Leaving Four Star, Cline officially signed with Decca Records in late 1960, working exclusively under Bradley's direction. Insisting on receiving an advance, she received $1,000 from Bradley once she began at the label.
Her first release under Decca was 1961's "I Fall to Pieces". The song was written by newly established Nashville songwriters Hank Cochran and Harlan Howard. "I Fall to Pieces" had first been turned down by Roy Drusky and Brenda Lee before Cline cut it in November 1960. At the recording session, she worried about the song's production, particularly the background vocals performed by The Jordanaires. After much arguing between both Cline and Bradley, they negotiated that she would record "I Fall to Pieces" (a song Bradley favored) and "Lovin' in Vain" (a song she favored). Released as a single in January 1961, "I Fall to Pieces" attracted little attention upon its initial issue. In April, the song debuted on the Hot Country and Western Sides chart. By August 7, the song became her first to top the country chart. Additionally, "I Fall to Pieces" crossed over onto the Billboard Pop chart, peaking at number 12.
On June 14, 1961, Cline and her brother Sam Hensley, Jr. were involved in an automobile accident. Cline had brought her mother, sister and brother to see her new Nashville home the day before. On the day of the accident, Cline and her brother went shopping to buy material for her mother to make clothing. Upon driving home, their car was struck head-on by another vehicle. The impact threw her directly into the car windshield, causing extensive facial injuries. Among her injuries, Cline suffered a broken wrist, dislocated hip and a large cut across her forehead, barely missing her eyes. Friend Dottie West heard about the accident via the radio and rushed to the scene, helping to remove pieces of broken glass from Cline's hair. When first responders arrived, Cline insisted the driver in the other vehicle be treated first. Two of the three passengers riding in the car that struck Cline died after arriving at the hospital. When she was brought to the hospital, her injuries were life-threatening and she was not expected to live. She underwent surgery and survived. According to her husband Charlie Dick, upon waking up she said to him, "Jesus was here, Charlie. Don't worry. He took my hand and told me, 'No, not now. I have other things for you to do.'" She spent a month recovering in the hospital.
1961–1963: Career peak
Cline returned to her career six weeks after her 1961 car accident. Her first public appearance was on the Grand Ole Opry where she assured fans she would continue performing. She said to the audience that night, "You're wonderful. I'll tell you one thing: the greatest gift, I think, that you folks coulda given me was the encouragement that you gave me. Right at the very time I needed you the most, you came through with the flying-est colors. And I just want to say you'll just never know how happy you made this ol' country gal." Cline's follow-up single to "I Fall to Pieces" was the song "Crazy". It was written by Willie Nelson, whose version of the song was first heard by Dick. When Dick brought the song to Cline she did not like it. When Dick encouraged her to record "Crazy", Cline replied, "I don't care what you say. I don't like it and I ain't gonna record it. And that's that." Bradley liked the song and set the date for its recording for August 17. When Cline got to Bradley's studio, he convinced her to record it. She listened to Nelson's version of "Crazy" and decided she was going to perform it differently. Nelson's version included a spoken section that Cline removed. She cut additional material on August 17 and when she got to "Crazy", it became difficult to perform. Because Cline was still recovering from the accident, performing the song's high notes caused rib pain. Giving her time to rest, Bradley sent her home while musicians laid down the track without her. A week later she returned and recorded her vocal in a single take.
"Crazy" was released as a single in October 1961, debuting on the Billboard country charts in November. It would peak at number 2 there and number 9 on the same publication's pop charts. "Crazy" would also become Cline's biggest pop hit. "Crazy" has since been called a country music standard. Cline's vocal performance and the song's production have received positive praise over time. Cub Koda of AllMusic noted the "ache" in her voice that makes the song stand out: "Cline's reading of the lyric is filled with an aching world weariness that transforms the tune into one of the first big crossover hits without even trying hard." Country music historian Paul Kingsbury also highlighted her "ache", saying in 2007, "Cline's hit recording swings with such velvety finesse, and her voice throbs and aches so exquisitely, that the entire production sounds absolutely effortless." Jhoni Jackon of Paste Magazine called the recording "iconic", highlighting the "pain" Cline had in her vocal technique. Her second studio album Patsy Cline Showcase was released in late 1961. The album featured both major hits from that year and re-recorded versions of "Walkin' After Midnight" and "A Poor Man's Roses (Or a Rich Man's Gold)".
"Crazy" and Cline's further Decca recordings have received critical praise. Mary Bufwack and Robert Oermann noted "Her thrilling voice invariably invested these with new depth. Patsy's dramatic volume control, stretched-note effects, sobs, pauses and unique ways of holding back, then bursting into full-throated phrases also breathed new life into country chestnuts like "San Antonio Rose", "Blue Moon of Kentucky" and "Half as Much". Richie Unterberger of AllMusic commented that her voice "sounded richer, more confident, and more mature, with ageless wise and vulnerable qualities that have enabled her records to maintain their appeal with subsequent generations." Kurt Wolff of Country Music the Rough Guide reported that Owen Bradley recognized potential in Cline's and once he gained studio control, he smoothed arrangements and "refine her voice into an instrument of torch-singing glory."
In November 1961, she was invited to perform as part of the Grand Ole Opry's show at Carnegie Hall in New York City. She was joined by Opry stars Minnie Pearl, Grandpa Jones, Jim Reeves, Bill Monroe, Marty Robbins, and Faron Young. Despite positive reviews, New York Journal-American columnist Dorothy Kilgallen commented, "everybody should get out of town because the hillbillies are coming!" The comment upset Cline and did not affect ticket sales. The Opry performance would later be sold out. By the end of year, Cline had won several major industry awards including "Favorite Female Vocalist" from Billboard Magazine and Cashbox Magazines "Most Programmed Female Artist". Also in 1961, Cline was back in the studio to record an upcoming album. Among the first songs she recorded was "She's Got You". Written by Hank Cochran, he pitched the song to Cline over the phone. Insisting to hear it in-person, Cochran brought the recording over to her house, along with a bottle of alcohol. Upon listening to it again, she liked the song and wanted to record it. Owen Bradley also liked the song and it was officially recorded on December 17, 1961. "She's Got You" became her third country-pop crossover hit by early 1962. "She's Got You" would also be her second number 1 hit on the Billboard country chart. It was also Cline's first entry in the United Kingdom singles chart, reaching number 43. The cover by Alma Cogan, one of Britain's most popular female artists of the 1950s, performed notably as well.
In 1962, Cline had three major hits with "When I Get Through with You", "So Wrong" and "Imagine That". Cline's career successes helped her become financially stable enough to purchase her first home. She bought a ranch house located Goodlettsville, Tennessee, a suburb of Nashville. The home was decorated by Cline and included a music room, several bedrooms and a large backyard. According to Dottie West, "the house was her mansion, the sign she'd arrived." Cline called it her "dream home" and often had friends over to visit. After her death, the house was sold to country artist Wilma Burgess. In the summer of 1962, manager Randy Hughes got her a role in a country music vehicle film. It also starred Dottie West, Webb Pierce and Sonny James. After arriving to film in DeLand, Florida, the producer had "ran off with the money", according to West. The movie was never made. In August, her third studio album Sentimentally Yours was released. It featured "She's Got You" as well as several country and pop standards. According to biographer Ellis Nassour, her royalties "were coming in slim" and she needed "financial security". Therefore, Randy Hughes arranged Cline to work at the Merri-Mint Theatre in Las Vegas, Nevada for 35 days. Cline would later dislike the experience. During the engagement, she developed a dry throat. She also was homesick and wanted to spend time with her children. By appearing at the engagement, Cline became the first female country artist to headline her own show in Las Vegas.
During this period Cline was said to have experienced premonitions of her own death. Dottie West, June Carter Cash, and Loretta Lynn recalled Cline telling them she felt a sense of impending doom and did not expect to live much longer. In letters, she would also describe the happiness of her new career successes. In January 1963, her next single "Leavin' on Your Mind" was released and debuted on the Billboard country chart soon after. In February, she recorded her final sessions for Decca Records. Among the songs recorded were "Sweet Dreams", "He Called Me Baby", and "Faded Love". Cline arranged for friends Jan Howard and Dottie West to come and hear the session playbacks. According to Howard, "I was in awe of Patsy. You know, afterward you're supposed to say something nice. I couldn't talk. I was dumbfounded."
Personal life
Friendships
Cline had close friendships with several country artists and performers. Her friendship with Loretta Lynn has been the subject of numerous books, songs, films and other projects. The pair first met when Lynn performed "I Fall to Pieces" on the radio shortly after Cline's 1961 car accident. Cline heard the broadcast and sent her husband to pick up Lynn so they could meet. According to Lynn, the pair became close friends "right away". Lynn later described their friendship in detail, "She taught me a lot about show business, like how to go on a stage and how to get off. She even bought me a lot of clothes...She even bought me curtains and drapes for my house because I was too broke to buy them...She was a great human being and a great friend." Lynn also noted they became so close that Cline even gave her underwear. Lynn still has the underwear in storage, saying it was "well-made".
Dottie West was another female country artist with whom Cline became friends. They first met backstage at the Grand Ole Opry. West wrote Cline a fan letter after hearing her first hit "Walkin' After Midnight". According to West, Cline "showed a genuine interest in her career" and they became close friends. The pair often spent time at their homes and worked on packaged tour dates together. West also stated Cline was a supportive friend who helped out in times of need.
Jan Howard was a third female artist with whom Cline had a close friendship. The pair first met when Cline tried starting an argument with Howard backstage at the Grand Ole Opry. She said to Howard, "You're a conceited little son of a bitch! You just go out there, do your spot, and leave without saying hello to anyone." Howard was upset and replied angrily back. Cline then laughed and said, "Slow down! Hoss, you're all right. Anybody that'll stand there and talk back to the Cline like that is all right...I can tell we're gonna be good friends!" The pair remained close for the remainder of Cline's life. Other friendships Cline had with female artists included Brenda Lee, Barbara Mandrell and pianist Del Wood. She also became friends with male country artists including Roger Miller, who helped Cline find material to record. Faron Young was another male artist whom Cline befriended from working on tour together. While on tour, the pair would spend time together, including a trip to Hawaii where the pair saw a hula show.
Family
Cline's mother Hilda Hensley continued living in Winchester, Virginia following her daughter's death. She rented out the family's childhood home on South Kent Street and lived across the street. Following Cline's death, Hensley briefly spent time raising her two grandchildren in Virginia. Hensley maintained a closet full of her daughter's stage costumes, including a sequined dress Cline wore while performing in Las Vegas in 1962. She worked as a seamstress and made many of her daughter's stage costumes. Hensley died from natural causes in 1998. Cline's father Samuel Hensley died of lung cancer in 1956. Hensley had previously deserted the family in 1947 and shortly before his death, Cline and her mother visited him at a hospital in Martinsburg, West Virginia. After discovering his current state, Cline said to her mother, "Mama, I know what-all he did, but it seems he's real sick and may not make it. In spite of everything, I want to visit him." Both of Cline's surviving siblings fought in court over their mother's estate. Because of legal fees, many of Cline's possessions were sold at auction.
Cline had two surviving children at the time of her death: Julie Simadore (born 1958) and Allen Randolph "Randy" (born 1961). Julie has been a significant factor in keeping her mother's legacy alive. She has appeared at numerous public appearances in support of her mother's music and career. Following the death of her father in 2015, she helped open a museum dedicated to Cline in Nashville, Tennessee. Julie has few memories of her mother due to Cline's death while she was young. In an interview with People Magazine, Julie discussed her mother's legacy, "I do understand her position in history, and the history of Nashville and country music...I'm still kind of amazed at it myself, because there's 'Mom' and then there's 'Patsy Cline,' and I'm actually a fan."
The present day American female blues, swing, and rock and roll singer, songwriter and record producer, Casey Hensley, is a distant relation of Cline's.
Marriages
Cline was married twice. Her first marriage was to Gerald Cline, on March 7, 1953. His family had owned a contracting and excavating company in Frederick, Maryland. According to Cline's brother Sam, he liked "flashy cars and women." The two met while she was performing with Bill Peer at the Moose Lodge in Brunswick, Maryland. According to Gerald Cline, "It might not have been love at first sight when Patsy saw me, but it was for me." Gerald Cline often took her to "one-nighters" and other concerts she performed in. Although he enjoyed her performances, he could not get used to her touring and road schedule. Patsy had told a friend during their marriage that she didn't think she "knew what love was" upon marrying Gerald. The pair began living separately by the end of 1956 and divorced in 1957.
Cline married her second husband Charlie Dick on September 15, 1957. The pair met in 1956 while Cline was performing with a local Virginia band. At the time, Dick was a linotype operator for local newspaper, The Winchester Star. According to Dick, he had asked Cline to dance and she replied, "I can't dance while I'm working, okay?" They eventually started spending time together and Cline began telling close friends about their relationship. Cline told Grand Ole Opry pianist Del Wood in 1956, "Hoss, I got some news. I met a boy my own age who's a hurricane in pants! Del, I'm in love, and this time, it's for real." The pair had children Julie and Randy together. Their relationship was considered both romantic and tempestuous. According to Robert Oermann and Mary Bufwack, Cline and Dick's marriage was "fueled by alcohol, argument, passion, jealousy, success, tears and laughter." According to biographer Ellis Nassour, the pair fought often but remained together. They had gained a reputation as "heavy drinkers", but according to Dick himself, they were not "drunks". During one particular fight, Cline had Dick arrested after they became physical with one another. Following Cline's death in 1963, Dick married country artist Jamey Ryan in 1965. The pair divorced in the early 1970s after having one child together. Dick helped with keeping Cline's legacy alive for the remainder of his own life. He assisted in producing several documentaries about Cline's career including Remembering Patsy and The Real Patsy Cline. He became involved with Hallway Productions in the 1990s and helped produce videos on other artists including Willie Nelson and The Mamas and the Papas. Dick died in 2015.
Death
On March 3, 1963, Cline performed a benefit at the Soldiers and Sailors Memorial Hall, Kansas City, Kansas, for the family of disc jockey "Cactus" Jack Call; he had died in an automobile crash a little over a month earlier. Also performing in the show were George Jones, George Riddle and The Jones Boys, Billy Walker, Dottie West, Wilma Lee and Stoney Cooper, George McCormick, the Clinch Mountain Boys as well as Cowboy Copas and Hawkshaw Hawkins. Despite having a cold, Cline gave three performances: 2:00, 5:15 and 8:15 pm. All the shows were standing-room only. For the 2 p.m. show, she wore a sky-blue tulle-laden dress; for the 5:15 show a red shocker; and for the closing show at 8 p.m., Cline wore white chiffon. Her final song was the last she had recorded the previous month, "I'll Sail My Ship Alone".
Cline, who had spent the night at the Town House Motor Hotel, was unable to fly out the day after the concert because Fairfax Airport was fogged in. West asked Patsy to ride in the car with her and husband, Bill, back to Nashville, a 16-hour drive, but Cline refused, saying, "Don't worry about me, Hoss. When it's my time to go, it's my time." On March 5, she called her mother from the motel and checked out at 12:30 p.m., going the short distance to the airport and boarding a Piper PA-24 Comanche plane, aircraft registration number N7000P. On board were Cline, Copas, Hawkins and pilot Randy Hughes.
The plane stopped once in Rogers, Arkansas to refuel and subsequently landed at Dyersburg Municipal Airport in Dyersburg, Tennessee at 5 p.m. Hawkins had accepted Billy Walker's place after Walker left on a commercial flight to take care of a stricken family member. The Dyersburg, Tennessee, airfield manager suggested that they stay the night because of high winds and inclement weather, offering them free rooms and meals. But Hughes, who was not trained in instrument flying, said "I've already come this far. We'll be there before you know it." The plane took off at 6:07 p.m.
Cline's flight crashed in heavy weather on the evening of Tuesday, March 5, 1963. Her recovered wristwatch had stopped at 6:20 p.m. The plane was found some from its Nashville destination, in a forest outside of Camden, Tennessee. Forensic examination concluded that everyone aboard had been killed instantly. Until the wreckage was discovered the following dawn and reported on the radio, friends and family had not given up hope. Endless calls tied up the local telephone exchanges to such a degree that other emergency calls had trouble getting through. The lights at the destination Cornelia Fort Airpark were kept on throughout the night, as reports of the missing plane were broadcast on radio and TV.
Early in the morning, Roger Miller and a friend went searching for survivors: "As fast as I could, I ran through the woods screaming their names—through the brush and the trees—and I came up over this little rise, oh, my God, there they were. It was ghastly. The plane had crashed nose down." Shortly after the bodies were removed, looters scavenged the area. Some of the items which were recovered were eventually donated to the Country Music Hall of Fame. Among them were Cline's wristwatch, a Confederate flag cigarette lighter, studded belt and three pairs of gold lamé slippers. Cline's fee in cash from the last performance was never recovered. Per her wishes, Cline's body was brought home for her memorial service, which thousands attended. People jammed against the small tent over her gold casket and the grave to take all the flowers they could reach as keepsakes. She was buried at Shenandoah Memorial Park in her hometown of Winchester, Virginia. Her grave is marked with a bronze plaque, which reads: "Virginia H. Dick ('Patsy Cline' is noted under her name) 'Death Cannot Kill What Never Dies: Love'." A memorial marks the exact place off Mt Carmel Road in Camden, Tennessee, where the plane crashed in the still-remote forest.
Posthumous releases
Music
Since Cline's death, Decca Records (later bought by MCA) has re-released her music which has made her commercially successful posthumously. The Patsy Cline Story was the first compilation album the label released following her death. It included the songs "Sweet Dreams (Of You)" and "Faded Love". Both tracks were released as singles in 1963. "Sweet Dreams" would reach number 5 on the Billboard country charts and 44 on the Hot 100. "Faded Love" would also become a top 10 hit on the Billboard country chart, peaking at number 7 in October 1963. In 1967, Decca released the compilation Patsy Cline's Greatest Hits. The album would not only peak at number 17 on the Billboard country chart, but also certified diamond in sales from the Recording Industry Association of America. In 2005, the Guinness World Book of Records included Greatest Hits for being the longest album on any record chart by any female artist.
Cline's music continued making the charts into the 1980s. Her version of "Always" made the Billboard country chart in 1980. An album of the same was also released in 1980 that peaked within the top 30 on the Billboard Top Country Albums chart. Two overdubbed duets between Cline and Jim Reeves became major hits during this time as well. Following the release of the Loretta Lynn biopic Coal Miner's Daughter (1980), there was renewed interest in Cline's career. Therefore, MCA Records reissued much of Cline's earlier studio and compilation releases. Her 1967 greatest hits album for example was repackaged in 1988 and labeled 12 Greatest Hits. The record reached number 27 on the Top Country Albums list in 1990. The soundtrack for Cline's own film biopic was released concurrently with the movie in 1985. The soundtrack would peak at number 6 on the Billboard country albums chart upon its release.
In 1991, MCA records issued her first box set entitled The Patsy Cline Collection. The album chronicled all of Cline's recorded material for Four Star and Decca Records. The boxed set received positive reviews, notably by Thom Jurek of Allmusic who rated it five out of five stars. Jurek commented, If an artist ever deserved a box set chronicling her entire career, it is Patsy Cline. Having recorded 102 sides between 1955 and her death at the age of 30 in 1963, Cline changed not only country music forever, but affected the world of pop as well. Over four CDs, arranged chronologically, the listener gets treated to a story in the development and maturation of a cultural icon who was at least, in terms of her gift, the equal of her legend. Rolling Stone listed the box set among their "50 Greatest Albums of All-Time". Writer Rob Sheffield called Cline "a badass cowgirl drama queen belts some of the torchiest, weepiest country songs ever, hitting high notes that make you sob into your margarita." The Patsy Cline Collection would reach number 29 on the Billboard country albums chart in January 1992. In 1997, MCA released Live at the Cimarron Ballroom, a rare recording that had recently resurfaced. Jeweler Bill Frazee had originally purchased a tape in 1975 which he discovered included Cline's live recording. The live performance on the record took place in July 1961, following Cline's car accident. She appeared at the Cimarron Ballroom in Tulsa, Oklahoma to give a one-night performance. Included on the record was unreleased live performances and dialog with the audience. The album peaked in the top 40 of the Billboard country albums chart. Cline's former MCA label continues releasing material to this day. Cline is listed among the Recording Industry of America's "Best Selling Artists" with a total of over 14 million records sold to date.
Film and television
Cline has been portrayed on film and television several times since the 1980s. The Loretta Lynn biopic Coal Miner's Daughter (1980) renewed interest in her life and career. Cline and Lynn's friendship was portrayed in the 1980 film. Actress Beverly D'Angelo played Cline in the movie and did her own singing of Cline's original material. D'Angelo earned a Golden Globe award nomination for her role. In an interview D'Angelo did for a 2017 PBS documentary, playing the role of Patsy Cline "had a profound impact" on her life and career.
In 1985, a feature film about Cline's life was released entitled Sweet Dreams. The film starred Jessica Lange as Cline and Ed Harris as husband Charlie Dick. Originally, Meryl Streep auditioned for Cline's role but ultimately lost to Lange. The film was produced by Bernard Schwartz, who also produced Coal Miner's Daughter. Original ideas called for scenes between Cline and Lynn, however they were ultimately removed from the final script. The film has been criticized for its lack of accuracy to Cline's own life and its musical production. Kurt Wolff wrote, "the soundtrack, however, featured overdubbed versions of Cline's material – better to stick with the originals." Mark Deming of Allmovie only gave the release two out of five stars. Deming commented, "While it's a wise approach to show how her turbulent marriage paralleled her crossover to Countrypolitan ballads, the melodrama tends to overshadow the celebrity story by relegating her rise to stardom to the background. Due to the historically dubious concerts at carnivals and fairgrounds, it appears as though she wasn't as big a star as she actually was." Deming did praise Lange's performance saying she created a "cheerful and spirited" depiction of Cline. Roger Ebert gave it two stars in his original 1985 review. Ebert said, "There isn't the sense of a well-shaped structure in this movie; there's no clear idea of what the filmmakers thought about Patsy Cline, or what thoughts her life is supposed to inspire." Lange was nominated for an Academy Award for Best Actress for her role as Cline.
Cline was also portrayed in television films. In 1995, a film about the life and career of Cline's friend Dottie West debuted on CBS titled, Big Dreams and Broken Hearts: The Dottie West Story. It included several scenes that showcased West's friendship with Cline. Actress Tere Myers played her in the television movie. Deborah Wilker of the Sun-Sentinel called her performance "terrific" and authentic.
Lifetime aired an original television film Patsy & Loretta in October 2019 on the network. It chronicles Cline's friendship with Loretta Lynn. Cline is portrayed by Megan Hilty and Lynn by Jessie Mueller. The film is directed by the Academy Award-winning screenwriter Callie Khouri. The trailer for the movie was released in July 2019. Patsy & Loretta was filmed on location in Nashville, Tennessee and is co-produced by Lynn's daughter and Cline's daughter, Julie Fudge.
There have been several documentaries made about Cline's life and career. The first was a 1989 documentary entitled The Real Patsy Cline which featured interviews with friends and fellow artists. This included Carl Perkins and Willie Nelson. Another documentary was filmed in 1994 entitled Remembering Patsy. The show was hosted by country artist Michelle Wright, who read letters Cline wrote to friends and family. It included interviews with several artists such as Roy Clark, George Jones and Trisha Yearwood. Both documentaries were produced by Cline's widower Charlie Dick. In March 2017, PBS released a documentary on Cline as part of their American Masters series. The film was narrated by Rosanne Cash and featured interviews with fans of Cline. These interviews included Beverly D'Angelo and Reba McEntire. It also included rare performances of songs such as "Three Cigarettes (In an Ashtray)" and "Walkin' After Midnight".
Plays and musicals
Cline's life and career has also been re-created in the theater sector. In 1988, the show Always...Patsy Cline premiered. The show was created by Ted Swindley who derived it from a friendship Cline had with Texas resident Louise Seger. The pair met while Cline was performing at the Esquire Ballroom in Houston, Texas. Seger brought Cline home following the show and they spent the night together. The pair would remain in contact through letters before Cline's death. Much of the script relied from letters exchanged between the two during the course of several years. Seger acts as the show's narrator and revisits memories she shared with Cline through their letter exchanges. Among the show's original performers was Mandy Barnett, who debuted the show at the Ryman Auditorium in 1994. Barnett would go on to have a music and performing career. A second musical was later released in 1991 titled A Closer Walk with Patsy Cline. The show was written by Dean Regan and has been called a "musical retelling" of Cline's career.
Artistry
Influences
Cline was influenced by various music artists. Among her earliest influences were pop singers of the 1940s and 1950s. These included Kay Starr, Helen Morgan, Patti Page, and Kate Smith. Patti Page recollected that Cline's husband said to her, "I just wish Patsy could have met you because she just adored you and listened to you all the time and wanted to be like you." Among her primary influences was Kay Starr, of whom Cline was a "fervent devotee" according to The Washington Post. Jack Hurst of the Chicago Tribune remarked that "Her rich, powerful voice, obviously influenced by that of pop's Kay Starr, has continued and perhaps even grown in popularity over the decades." Cline was also attracted to country music radio programs, notably the Grand Ole Opry. According to Mary Bufwack and Robert Oermann, Cline became "obsessed" with the program at a young age. Cline's mother Hilda Hensley commented on her daughter's admiration, "I know she never wanted anything so badly as to be a star on the Grand Ole Opry..." Among performers from the program she admired was Patsy Montana. Cline was also influenced by other types of performers including early rockabilly artist Charline Arthur.
Voice and style
Cline possessed a contralto voice. Time magazine writer Richard Corliss called her voice "bold". Her voice has also been praised for its display of emotion. Kurt Wolff called it one of the most "emotionally expressive voices in modern country music". Tony Gabrielle of the Daily Press wrote that Cline had "a voice of tremendous emotional power." Cline was at times taken by her own emotion. Husband Charlie Dick recounted that Cline's producer Owen Bradley told him to leave a recording session because she was very emotional and he didn't want to disturb the mood. Cline was once quoted in describing the emotion she felt, saying, "Oh Lord, I sing just like I hurt inside."
During her early career, Cline recorded in styles such as gospel, rockabilly, and honky-tonk. These styles she cut for Four Star Records have been considered below the quality of her later work for Decca Records. Steve Leggett of Allmusic commented, Her recordings prior to 1960, though, were something else again, and with the exception of 1956's "Walkin' After Midnight" and perhaps one or two other songs, she seemed reined in and stifled as a singer, even though she was working with the same producer, Owen Bradley, who was to produce her 1960s successes. Oh the difference a song makes, because in the end the material she recorded between 1955 and 1960 – all of which is collected on these two discs – was simply too weak for Cline to turn into anything resembling gold, even with her obvious vocal skills.
Cline's style has been largely associated with the Nashville Sound, a sub-genre of country music that linked traditional lyrics with orchestrated pop music styles. This new sound helped many of her singles to crossover onto the Billboard Hot 100 and gain a larger audience that did not always hear country music. Her producer Owen Bradley built this sound onto her Decca recordings, sensing a potential in her voice that went beyond traditional country music. At first, she resisted the pop-sounding style, but was ultimately convinced to record in this new style. Stephen M. Desuner of Pitchfork explained that Cline has been an identifiable factor with the Nashville Sound: "She essentially rewrote their songs simply by singing them, elevating their words and wringing every one of their rhymes for maximum dramatic potential." Mark Deming of Allmusic commented, "Cline and Bradley didn't invent "countrypolitan," but precious few artists managed to meld the sophistication of pop and the emotional honesty of country as brilliantly as this music accomplishes with seemingly effortless grace, and these songs still sound fresh and brilliantly crafted decades after the fact."
Image
Cline's public image changed during the course of her career. She began her career wearing cowgirl dresses and hats designed by her mother. However, as her music crossed over into pop, she began wearing sequined gowns and cocktail dresses. While she would often wear cowgirl costumes for live performances, she would also wear evening dresses for television and metropolitan performances. For her 1957 performance on Arthur Godfrey's Talent Scouts, the show's producer insisted that Cline wear an evening dress instead of the fringed cowgirl attire she had intended to wear. Her 1962 engagement at the Merri-Mint Theatre in Las Vegas represented this particular image shift. For one of her performances, Cline wore a sequined cocktail dress designed by her mother.
Cline has also been seen as a pioneer for women in country music. She has been cited as an inspiration by many performers in diverse styles of music. Kurt Wolff of Country Music: The Rough Guide said that Cline had an "aggression" and "boisterous attitude" that gained her the respect of her male counterparts. Wolff explained, "She swaggered her way past stereotypes and other forces of resistance, showing the men in charge – and the public in general – that women were more than capable of singing about such hard subjects as divorce and drinking as well as love and understanding. Sean O'Hagan of The Guardian commented that along with Minnie Pearl, Jean Shepard and Kitty Wells, Cline helped prove that country music was not "macho" and that "strong women" could have a "strong voice". In 2013, The Washington Post wrote, "she was what I call a pre-feminist woman. She didn't open doors; she kicked them down." Mary Bufwack and Robert K. Oermann wrote in 2003 that Cline "transformed what it meant to be a female country star".
Legacy
Cline has been cited in both country and pop music as of one of the greatest vocalists of all-time. Her voice has also been called "haunting", "powerful", and "emotional". Cline's emotional expression and delivery of lyrics helped influence various musical genres and artists. With the support of producer Owen Bradley, Cline has been said to "help define" the Nashville Sound style of country music. While the subgenre has received mixed opinions, it has also been said to be a significant part of country music's "authenticity", with Cline being the center focal point of the subgenre. Other artists have noted her impact, including LeAnn Rimes who stated, "I remember my dad telling me to listen to the way she told a story... I remember feeling more emotion when she sang than anyone else I had ever heard." Lucinda Williams commented on Cline's vocal talent in helping define her legacy, stating, "Even though her style is considered country, her delivery is more like a classic pop singer... That's what set her apart from Loretta Lynn or Tammy Wynette. You'd almost think she was classically trained."
Cline has been a major influence on various music artists including Reba McEntire, Loretta Lynn, LeAnn Rimes, k.d. lang, Linda Ronstadt, Trisha Yearwood, Sara Evans, Dottie West, Kacey Musgraves, Margo Price, Cyndi Lauper, Trixie Mattel and Brandi Carlile. Dottie West (also a close friend of Cline's) spoke about her influence on her own career, "I think I was most influenced by Patsy Cline, she said things for people. There was so much feeling in there. In fact, she told me, 'Hoss, if you can't do it with feeling, don't'". In 2019, Sara Evans discussed how Cline has been an influence since she was a young girl, "I learned everything I could learn about her. I tried to mimic her singing to the ‘t’. We grew up singing in bars — my brothers, sisters and I — from the time I was really little. So I started covering every Patsy Cline song. Then when I first got my record deal I came to Winchester to visit a radio station to try to get them to play my song Three Chords and the Truth."
In 1973, Cline was inducted into the Country Music Hall of Fame. With the induction, she became the first solo female artist to be included. In 1977, Cline's friend and mentee Loretta Lynn released a tribute album entitled I Remember Patsy. The record contained covers of Cline's songs, including "Back in Baby's Arms" and "Crazy". The album's lead single was "She's Got You", which would reach the number 1 spot on the Billboard country chart in 1977. In 1995, Cline received a Grammy Lifetime Achievement Award for her legacy and career. Additionally, her hits "I Fall to Pieces" and "Crazy" received inductions into the Grammy Hall of Fame.
In 1993, Cline was included on United States postal stamps as part of their "Legends" series. Other country artists that were included on stamp series were The Carter Family, Hank Williams, and Bob Wills. The stamps were dedicated in an official ceremony at the Grand Ole Opry by Postmaster General Marvin Runyon. In August 1999, Cline received a star on the Hollywood Walk of Fame. The ceremony was attended by her widower Charlie Dick and daughter Julie Fudge. During the 1990s, two of her songs were voted among the "Greatest Juke Box Hits of All-Time". "Crazy" was voted as the number 1 greatest, along with "I Fall to Pieces" ranking at number 17.
Since the late 1990s, she received additional rankings and honors. In 1999, Cline was ranked at number 11 among VH1's list of the "100 Greatest Women of Rock and Roll". In 2003, she was included by Country Music Television on their list of the "40 Greatest Women of Country Music". In 2010, Cline ranked at number 46 on Rolling Stones list of the "100 Greatest Singers of All-Time". The magazine would rank her on their 2017 list of the "100 Greatest Country Artists of All-Time", where she placed at number 12.
Forty years after her death, MCA Nashville released a tribute album entitled Remembering Patsy Cline (2003). A television special also followed around the same time. The album consisted of cover versions of songs taken from Cline's 1967 greatest hits album. It included songs covered by country artists such as Terri Clark and Martina McBride. It also featured artists from other genres such as Michelle Branch, Diana Krall and Patti Griffin.
Cline's hometown of Winchester, Virginia has helped honor her legacy and career. In 1987, the local government approved the placing of markers within the town denoting it as the birthplace of Cline. The same year, a bell tower was erected in her burial location at Shenandoah Memorial Park. The bell tower cost thirty five thousand dollars and was partially funded by Cline's friends Jan Howard and Loretta Lynn. In 2005, Cline's childhood home was given an official on-site marker and included on the National Register of Historic Places. With the development of an organization entitled Celebrating Patsy Cline Inc., renovations began on Cline's childhood home. In August 2011, the Patsy Cline House officially opened as a historic home for tours. In almost three months, about three thousand people visited the home. The home was restored to the era in which Cline lived in it during the 1950s with her mother and siblings. Replicas of furniture and stage clothes are also included. Daughter Julie Fudge spoke of the house in 2011, stating, “I think when you go into the house, you will kind of feel like this is a snapshot of what it would have been like to visit when Mom lived there.”
In 2017, the Patsy Cline Museum opened in Nashville, Tennessee, located at 119 3rd Ave. S., on the second floor in the same building as the Johnny Cash Museum. The museum includes Cline's actual stage costumes, as well as her original scrapbook and record albums. The Patsy Cline Museum features other artifacts, such as the soda fountain machine from Gaunt's Drug Store, where Cline worked as a teenager. Original letters that Cline wrote to friends are also included as part of the museum.
Discography
Studio albums
1957: Patsy Cline
1961: Patsy Cline Showcase
1962: Sentimentally Yours
Posthumous studio albums
1964: A Portrait of Patsy Cline
1964: That's How a Heartache Begins
1980: Always
References
Footnotes
Books
Further reading
Bego, Mark. I Fall to Pieces: The Music and the Life of Patsy Cline. Adams Media Corporation.
Hazen, Cindy and Mike Freeman. Love Always, Patsy. The Berkley Publishing Group.
Jones, Margaret (1998). "Patsy Cline". In The Encyclopedia of Country Music. Paul Kingsbury, Editor. New York: Oxford University Press. pp. 98–9.
Gomery, Douglas Patsy Cline: The Making of an Icon. Trafford Publishing.
External links
Celebrating Patsy Cline an official organization sponsoring several projects
Patsy Cline Home and Museum located in Winchester, Virginia
Patsy Cline recordings at the Discography of American Historical Recordings.
The Patsy Cline Plane Crash
1932 births
1963 deaths
20th-century American composers
20th-century American singers
20th-century American women singers
20th-century women composers
Accidental deaths in Tennessee
American contraltos
American country singer-songwriters
American women composers
American women country singers
American women pop singers
American women singer-songwriters
American rockabilly musicians
Country Music Hall of Fame inductees
Country musicians from Tennessee
Country musicians from Virginia
Cowgirl Hall of Fame inductees
Deaths in Tennessee
Decca Records artists
Four Star Records artists
Grammy Lifetime Achievement Award winners
Grand Ole Opry members
People from Goodlettsville, Tennessee
People from Winchester, Virginia
Rock and roll musicians
Singer-songwriters from Virginia
Torch singers
Traditional pop music singers
Victims of aviation accidents or incidents in 1963
Victims of aviation accidents or incidents in the United States
Musicians killed in aviation accidents or incidents
Singer-songwriters from Tennessee
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[
"The Town of Milwaukee Town Hall was built in 1872 in what is now Glendale, Wisconsin. It was the seat of government of the Town of Milwaukee, Wisconsin until the town ceased to exist after portions of it were annexed into different municipalities. The building was added to the National Register of Historic Places in 1986.\n\nThe Town of Milwaukee was formed in 1838, basically the northern half of what is now Milwaukee County, reaching to Greenfield Avenue. It was then largely farmlands, settled by farmers mostly of German, Swiss, French and Dutch origins. In the early years, the town officers met once a year in homes or taverns, but in 1872 the town decided to build its own hall. For $1000, Louis Severin constructed the hall at the corner of what are now Bender Road and Port Washington Road, a fairly simple one-story frame building with a front porch supported by chamfered posts and a lunette window in each gable end.\n\nOver the years the surrounding cities and suburbs annexed bits of the rural Town of Milwaukee until in 1950, the City of Glendale was incorporated out of half of the remainder. With that, the Town dissolved and more of it was annexed by Glendale. By 1962, the town hall was deteriorating and its site on Bender Road was wanted for a water filtration plant. Avoiding demolition, it was moved in 1963 to its current site and restored by the Glendale Women's Club. Today it serves as a museum and occasional meeting room.\n\nReferences\n\nExternal links\n Milwaukee County Historical Society - Town of Milwaukee Town Hall\n\nCity and town halls on the National Register of Historic Places in Wisconsin\nBuildings and structures in Milwaukee County, Wisconsin\nNational Register of Historic Places in Milwaukee County, Wisconsin\nCity and town halls in Wisconsin",
"Deering was a town in Cumberland County, Maine which was incorporated in 1871 and annexed by the neighboring City of Portland in 1899. Until 1871, the town was part of Saccarappa, which also included what is now neighboring Westbrook. In that year, the towns split with little opposition. The 1880 United States Census counted 4,324 residents of the newly formed town. In 1892, Deering was incorporated as a city. In 1899, Deering was annexed by Portland, becoming the northern neighborhoods of the city.\n\nReferences\n\nExternal links\n Maps.bpl.org\n\n1871 establishments in Maine\n1898 disestablishments in Maine\nPopulated places established in 1871\nPopulated places disestablished in 1898\nFormer towns in Maine\nHistory of Portland, Maine\nWestbrook, Maine"
] |
[
"Patsy Cline",
"Early years",
"Was she musical from childhood?",
"She was the eldest child of seamstress Hilda Virginia (nee Patterson, 1916-1998) and blacksmith Samuel Lawrence Hensley (1889-1956).",
"When did she discover she had talent for singing?",
"When Patsy was 13,",
"When did she start singing professionally?",
"she asked WINC (AM) disc jockey Jimmy McCoy if she could sing on his show. Her performance in 1947 was well received",
"Did that lead to other opportunities?",
"This led to appearances at local nightclubs wearing fringed Western outfits that her mother made from Patsy's designs.",
"What city or town was that in?",
"Cline performed in variety and talent shows in the Winchester and Tri-State areas,"
] |
C_eb67cd934c274c28837e9c932e60a6af_1
|
What state in Winchester in?
| 6 |
What state is the Winchester in that Patsy Cline made appearances at?
|
Patsy Cline
|
Patsy Cline was born Virginia Patterson Hensley on September 8, 1932 in Winchester, Virginia, in the city's Memorial Hospital. She was the eldest child of seamstress Hilda Virginia (nee Patterson, 1916-1998) and blacksmith Samuel Lawrence Hensley (1889-1956). She had a brother Samuel Jr. (1939-2004) and a sister Sylvia. The family moved often before finally settling in Winchester, Virginia when Patsy was 16. Sam Hensley deserted his family in 1947, but the children's home was reportedly happy nonetheless. When Patsy was 13, she was hospitalized with a throat infection and rheumatic fever. She later said, "The fever affected my throat and when I recovered I had this booming voice like Kate Smith." Cline enrolled at John Handley High School but never attended classes. To help her mother support their family, she worked as a soda jerk at Gaunt's Drug Store and a waitress at the Triangle Diner. She watched performers through the window at the local radio station, and she asked WINC (AM) disc jockey Jimmy McCoy if she could sing on his show. Her performance in 1947 was well received and she was asked back. This led to appearances at local nightclubs wearing fringed Western outfits that her mother made from Patsy's designs. Cline performed in variety and talent shows in the Winchester and Tri-State areas, and she gained a large following through the shows and local radio appearances. Jimmy Dean was already a country star in 1954, and she became a regular with him on Connie B. Gay's Town and Country Jamboree radio show on WAVA (AM) in Arlington County, Virginia. CANNOTANSWER
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CANNOTANSWER
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Patsy Cline (born Virginia Patterson Hensley; September 8, 1932 – March 5, 1963) was an American singer. She is considered one of the most influential vocalists of the 20th century and was one of the first country music artists to successfully cross over into pop music. Cline had several major hits during her eight-year recording career, including two number-one hits on the Billboard Hot Country and Western Sides chart.
Cline's first professional performances began at the local WINC radio station when she was fifteen. In the early 1950s, Cline began appearing in a local band led by performer Bill Peer. Various local appearances led to featured performances on Connie B. Gay's Town and Country television broadcasts. It also led to the signing of her first recording contract with the Four Star label in 1954. She had minor success with her earliest Four Star singles including "A Church, a Courtroom, Then Goodbye" (1955) and "I've Loved and Lost Again" (1956). In 1957 however, Cline made her first national television appearance on Arthur Godfrey's Talent Scouts. After performing "Walkin' After Midnight", the single would become her first major hit on both the country and pop charts.
Cline's further singles with Four Star Records were unsuccessful, although she continued performing and recording. After marrying in 1957 and giving birth in 1958, she moved to Nashville, Tennessee, to further her career. Working with new manager Randy Hughes, Cline would become a member of the Grand Ole Opry and then move to Decca Records in 1960. Under the direction of producer Owen Bradley, her musical sound shifted and she achieved consistent success. The 1961 single "I Fall to Pieces" would become her first to top the Billboard country chart. As the song became a hit, Cline was severely injured in an automobile accident, which caused her to spend a month in the hospital. After she recovered, her next single release "Crazy" would also become a major hit.
Between 1962 and 1963, Cline had hits with "She's Got You", "When I Get Through with You", "So Wrong" and "Leavin' on Your Mind". She also toured and headlined shows with more frequency. In March 1963, Cline was killed in a plane crash along with country performers Cowboy Copas, Hawkshaw Hawkins and manager Randy Hughes, during a flight from Kansas City, Kansas back to Nashville.
Since her death, Cline has been cited as one of the most celebrated, respected and influential performers of the 20th century. Her music has influenced performers of various styles and genres. She has also been seen as a forerunner for women in country music, being among the first to sell records and headline concerts. In 1973, she became the first female performer to be inducted into the Country Music Hall of Fame. In the 1980s, Cline's posthumous successes continued in the mass media. She was portrayed twice in major motion pictures, including the 1985 biopic Sweet Dreams starring Jessica Lange. Several documentaries and stage shows were released during this time, including the 1988 musical Always...Patsy Cline. A 1991 box set of her recordings was issued that received critical acclaim. Her greatest hits album sold over 10 million copies in 2005. In 2011, Cline's childhood home was restored as a museum for visitors and fans to tour. In 2017, Cline’s Dream Home in Nashville, TN was placed on the Tennessee Historical Markers List by the Patsy Cline Fan Home Owners, Steven Shirey and Thomas Corritore.
Early life
Cline was born Virginia Patterson Hensley in Winchester, Virginia on September 8, 1932, to Hilda Virginia (née Patterson; 1916–1998) and Samuel Lawerence Hensley (1889–1956). Mrs. Hensley was only 16 years old at the time of Cline's birth. Sam Hensley had been married before; Cline had two half siblings (aged 12 and 15) that lived with a foster family because of their mother's death years before. After Cline, Hilda Hensley would also have Samuel Jr. (called John) and Sylvia Mae. Besides being called "Virginia" in her childhood, Cline was also referred to as "Ginny". She temporarily lived with her mother's family in Gore, Virginia before relocating many times throughout the state. In her childhood, the family relocated where Samuel Hensley, a blacksmith, could find employment, including Elkton, Staunton, and Norfolk. When the family had little money, she would find work. This included an Elkton poultry factory, where her job was to pluck and cut chickens. The family moved often before finally settling in Winchester, Virginia on South Kent Street. Cline would later report that her father sexually abused her. When confiding about the abuse to friend Loretta Lynn, Cline told her, "take this to your grave". Hilda Hensley would later report details of the abuse to producers of Cline's 1985 biopic Sweet Dreams.
At age 13, Cline was hospitalized with a throat infection and rheumatic fever. Speaking of the incident in 1957 she said, "I developed a terrible throat infection and my heart even stopped beating. The doctor put me in an oxygen tent. You might say it was my return to the living after several days that launched me as a singer. The fever affected my throat and when I recovered I had this booming voice like Kate Smith's." It was during this time she developed an interest in singing. She started performing with her mother in the local Baptist choir. Mother and daughter also performed duets at church social events. She also taught herself how to play the piano.
With the new performing opportunities, Cline's interest in singing only grew further and at the age of 14, she told her mother that she was going to audition for the local radio station. Her first radio performances began at WINC in the Winchester area. According to WINC's radio disc jockey Joltin' Jim McCoy, Cline appeared in the station's waiting room one day and asked to audition. McCoy was impressed by her audition performance, reportedly saying, "Well, if you've got nerve enough to stand before that mic and sing over the air live, I've got nerve enough to let you." While also performing on the radio, Cline also started appearing in talent contests and created a nightclub cabaret act similar to performer Helen Morgan.
Cline's mother and father had marital conflicts during her childhood and by 1947, her father deserted the family. Author Ellis Nassour of the biography Honky Tonk Angel: An Intimate Story of Patsy Cline reported Cline had a "beautiful relationship" with her mother. In his interviews with Hilda Hensley, he quoted Cline's mother in saying they "were more like sisters" than parent and child. Upon entering the ninth grade, Cline enrolled at John Handley High School in Winchester, Virginia. However, the family had trouble sustaining an income after her father's desertion. Therefore, Cline dropped out of high school to help support the family. She began working at Gaunt's Drug Store in the Winchester area as a clerk and soda jerk.
Career
1948–1953: Early career
At age 15, Cline wrote a letter to the Grand Ole Opry asking for an audition. She told local photographer Ralph Grubbs about the letter, "A friend thinks I'm crazy to send it. What do you think?" Grubbs encouraged Cline to send it. Several weeks later, she received a return letter from the Opry asking for pictures and recordings. At the same time, Gospel performer Wally Fowler headlined a concert in her hometown. Cline convinced concert employees to let her backstage where she asked Fowler for an audition. Following a successful audition, Cline's family received a call asking for her to audition for the Opry. She traveled with her mother, two siblings, and a family friend on an eight-hour journey to Nashville, Tennessee. With limited finances, they drove overnight and slept in a Nashville park the following morning. Cline auditioned for Opry performer Moon Mullican the same day. The audition was well-received and Cline expected to hear from the Opry the same day. However, she never received news and the family returned to Virginia.
By the early 1950s, Cline continued performing around the local area. In 1952, she asked to audition for local country bandleader Bill Peer. Following her audition, she began performing regularly as a member of Bill Peer's Melody Boys and Girls. The pair's relationship turned romantic, continuing an affair for several years. Nonetheless, the pair remained married to their spouses. Peer's group played primarily at the Moose Lodge in Brunswick, Maryland where she would meet her first husband, Gerald Cline. Peer encouraged her to have a more appropriate stage name. She changed her first name from Virginia to Patsy (taken from her middle name "Patterson"). She kept her new last name, Cline. Ultimately, she became professionally known as "Patsy Cline".
In August 1953, Cline was a contestant in a local country music contest. She won 100 dollars and the opportunity to perform as a regular on Connie B. Gay's Town and Country Time. The show included country stars Jimmy Dean, Roy Clark, George Hamilton IV and Billy Grammer, and was filmed in Washington D.C. and Arlington, Virginia. She was not officially added to the program's television shows until October 1955. Cline's television performances received critical acclaim. The Washington Star magazine praised her stage presence, commenting, "She creates the moods through movement of her hands and body and by the lilt of her voice, reaching way down deep in her soul to bring forth the melody. Most female country music vocalists stand motionless, sing with monotonous high-pitched nasal twang. Patsy's come up with a throaty style loaded with motion and E-motion."
1954–1960: Four Star Records
In 1954, Bill Peer created and distributed a series of demonstration tapes with Cline's voice on it. A tape was brought to the attention of Bill McCall, president of Four Star Records. On September 30, 1954, she signed a two-year recording contract with the label alongside Peer and her husband Gerald Cline. The original contract allowed Four Star to receive most of the money for the songs she recorded. Therefore, Cline received little of the royalties from the label, totaling out to 2.34 percent on her recording contract. Her first recording session took place in Nashville, Tennessee on January 5, 1955. Songs for the session were handpicked by McCall and Paul Cohen. Four Star leased the recordings to the larger Decca Records. For those reasons Owen Bradley was chosen as the session's producer, a professional relationship that would continue into the 1960s. Her first single release was 1955's "A Church, a Courtroom, Then Goodbye". Although Cline promoted it with an appearance on the Grand Ole Opry the song was not successful.
Cline recorded a variety of musical styles while recording for Four Star. This included genres such as gospel, rockabilly, traditional country and pop. Writers and music journalists have had mixed beliefs on Cline's Four Star material. Robert Oermann and Mary Bufwack of Finding Her Voice: Women in Country Music called the label's choice of material "mediocre". They also commented that Cline seemed to have "groped for her own sound on the label". Kurt Wolff of Country Music the Rough Guide commented that the music was "sturdy enough, but they only hinted at the potential that lurked inside her. Richie Unterberger of Allmusic claimed it was Cline's voice that made the Four Star material less appealing: "Circumstances were not wholly to blame for Cline's commercial failures. She would have never made it as a rockabilly singer, lacking the conviction of Wanda Jackson or the spunk of Brenda Lee. In fact, in comparison with her best work, she sounds rather stiff and ill-at-ease on most of her early singles."
Between 1955 and 1956, Cline's four singles for Four Star failed to become hits. However, she continued performing regionally, including on the Town and Country Jamboree. In 1956, she appeared on ABC's Country Music Jubilee, Ozark Jubilee. It was at one of her local performances that she met her second husband, Charlie Dick. In 1956, Cline received a call to perform on Arthur Godfrey's Talent Scouts, a national television show she had auditioned for several months prior. She accepted the offer, using her mother Hilda Hensley as her talent scout for the show. According to the show's rules, talent scouts could not be family members. For those reasons, Cline's mother lied in order to appear on the show. When Arthur Godfrey asked if Hensley had known Cline her entire life, she replied, "Yes, just about!"
Cline and Mrs. Hensley flew into LaGuardia Airport in New York City on January 18, 1957. She made her debut appearance on the program on January 21. The day of the show, she met with the show's producer Janette Davis. Cline had chosen "A Poor Man's Roses (Or a Rich Man's Gold)" to perform on the program, but Davis preferred another song she had recorded, "Walkin' After Midnight". Cline initially refused to perform it, but ultimately agreed to it. Davis also suggested Cline wear a cocktail dress instead of the cowgirl outfit created by her mother. She performed "Walkin' After Midnight" and won the program's contest that night. The song had not yet been released as a single. In order to keep up with public demand, Decca Records rush-released the song as a single on February 11. The song ultimately became Cline's breakthrough hit, peaking at number 2 on the Billboard Hot Country and Western Sides chart. The song also reached number 12 on the Billboard pop music chart. The song has since been considered a classic in country music since its release.
Music critics and writers have positively praised "Walkin' After Midnight". Mary Bufwack and Robert Oermann called the song "bluesy". Richie Unterberger noted "it's well-suited for the almost bemused aura of loneliness of the lyric." The success of "Walkin' After Midnight" brought Cline numerous appearances on shows and major networks. She continued working for Arthur Godfrey over the next several months. She also appeared on the Grand Ole Opry in February and the television program Western Ranch Party in March. The money she had earned from her numerous engagements totaled out to ten thousand dollars. Cline gave all the money to her mother, which she used to the pay the mortgage on her Winchester house. In August 1957, her debut studio album was issued via Decca Records.
Cline's follow-up singles to "Walkin' After Midnight" did not yield any success. This was partially due to the quality of material chosen for her to record. Cline was dissatisfied with the limited success following "Walkin' After Midnight". Bradley recounted how she often came to him saying, "Hoss, can't you do something? I feel like a prisoner." Around the same time, Cline was fired from her regular slot on Town and Country Jamboree. According to Connie B. Gay, she ran late for shows and "showed up with liquor on her breath". In September 1957, Cline married Charlie Dick and he was soon sent to Fort Bragg, North Carolina on a military assignment. Cline also gave birth to her first daughter Julie. In hopes of restarting her career, Cline and her family moved to Nashville, Tennessee.
1960–1961: New beginnings and car accident
Cline's professional decisions yielded more positive results by the early 1960s. Upon moving to Nashville, she signed a management deal with Randy Hughes. She originally wished to work with Hubert Long, however, he was busy managing other artists. Instead, she turned her attention to Hughes. With the help of Hughes, she began working steadier jobs. He organized fifty dollar bookings and got her multiple performances on the Grand Ole Opry. In January 1960, Cline officially became a member of the Opry. When she asked general manager Ott Devine about a membership he replied, "Patsy, if that's all you want, you're on the Opry." Also in January 1960, Cline made her final recording sessions set forth in her contract with Four Star Records. Later that year, her final singles with the label were released: "Lovesick Blues" and "Crazy Dreams". Leaving Four Star, Cline officially signed with Decca Records in late 1960, working exclusively under Bradley's direction. Insisting on receiving an advance, she received $1,000 from Bradley once she began at the label.
Her first release under Decca was 1961's "I Fall to Pieces". The song was written by newly established Nashville songwriters Hank Cochran and Harlan Howard. "I Fall to Pieces" had first been turned down by Roy Drusky and Brenda Lee before Cline cut it in November 1960. At the recording session, she worried about the song's production, particularly the background vocals performed by The Jordanaires. After much arguing between both Cline and Bradley, they negotiated that she would record "I Fall to Pieces" (a song Bradley favored) and "Lovin' in Vain" (a song she favored). Released as a single in January 1961, "I Fall to Pieces" attracted little attention upon its initial issue. In April, the song debuted on the Hot Country and Western Sides chart. By August 7, the song became her first to top the country chart. Additionally, "I Fall to Pieces" crossed over onto the Billboard Pop chart, peaking at number 12.
On June 14, 1961, Cline and her brother Sam Hensley, Jr. were involved in an automobile accident. Cline had brought her mother, sister and brother to see her new Nashville home the day before. On the day of the accident, Cline and her brother went shopping to buy material for her mother to make clothing. Upon driving home, their car was struck head-on by another vehicle. The impact threw her directly into the car windshield, causing extensive facial injuries. Among her injuries, Cline suffered a broken wrist, dislocated hip and a large cut across her forehead, barely missing her eyes. Friend Dottie West heard about the accident via the radio and rushed to the scene, helping to remove pieces of broken glass from Cline's hair. When first responders arrived, Cline insisted the driver in the other vehicle be treated first. Two of the three passengers riding in the car that struck Cline died after arriving at the hospital. When she was brought to the hospital, her injuries were life-threatening and she was not expected to live. She underwent surgery and survived. According to her husband Charlie Dick, upon waking up she said to him, "Jesus was here, Charlie. Don't worry. He took my hand and told me, 'No, not now. I have other things for you to do.'" She spent a month recovering in the hospital.
1961–1963: Career peak
Cline returned to her career six weeks after her 1961 car accident. Her first public appearance was on the Grand Ole Opry where she assured fans she would continue performing. She said to the audience that night, "You're wonderful. I'll tell you one thing: the greatest gift, I think, that you folks coulda given me was the encouragement that you gave me. Right at the very time I needed you the most, you came through with the flying-est colors. And I just want to say you'll just never know how happy you made this ol' country gal." Cline's follow-up single to "I Fall to Pieces" was the song "Crazy". It was written by Willie Nelson, whose version of the song was first heard by Dick. When Dick brought the song to Cline she did not like it. When Dick encouraged her to record "Crazy", Cline replied, "I don't care what you say. I don't like it and I ain't gonna record it. And that's that." Bradley liked the song and set the date for its recording for August 17. When Cline got to Bradley's studio, he convinced her to record it. She listened to Nelson's version of "Crazy" and decided she was going to perform it differently. Nelson's version included a spoken section that Cline removed. She cut additional material on August 17 and when she got to "Crazy", it became difficult to perform. Because Cline was still recovering from the accident, performing the song's high notes caused rib pain. Giving her time to rest, Bradley sent her home while musicians laid down the track without her. A week later she returned and recorded her vocal in a single take.
"Crazy" was released as a single in October 1961, debuting on the Billboard country charts in November. It would peak at number 2 there and number 9 on the same publication's pop charts. "Crazy" would also become Cline's biggest pop hit. "Crazy" has since been called a country music standard. Cline's vocal performance and the song's production have received positive praise over time. Cub Koda of AllMusic noted the "ache" in her voice that makes the song stand out: "Cline's reading of the lyric is filled with an aching world weariness that transforms the tune into one of the first big crossover hits without even trying hard." Country music historian Paul Kingsbury also highlighted her "ache", saying in 2007, "Cline's hit recording swings with such velvety finesse, and her voice throbs and aches so exquisitely, that the entire production sounds absolutely effortless." Jhoni Jackon of Paste Magazine called the recording "iconic", highlighting the "pain" Cline had in her vocal technique. Her second studio album Patsy Cline Showcase was released in late 1961. The album featured both major hits from that year and re-recorded versions of "Walkin' After Midnight" and "A Poor Man's Roses (Or a Rich Man's Gold)".
"Crazy" and Cline's further Decca recordings have received critical praise. Mary Bufwack and Robert Oermann noted "Her thrilling voice invariably invested these with new depth. Patsy's dramatic volume control, stretched-note effects, sobs, pauses and unique ways of holding back, then bursting into full-throated phrases also breathed new life into country chestnuts like "San Antonio Rose", "Blue Moon of Kentucky" and "Half as Much". Richie Unterberger of AllMusic commented that her voice "sounded richer, more confident, and more mature, with ageless wise and vulnerable qualities that have enabled her records to maintain their appeal with subsequent generations." Kurt Wolff of Country Music the Rough Guide reported that Owen Bradley recognized potential in Cline's and once he gained studio control, he smoothed arrangements and "refine her voice into an instrument of torch-singing glory."
In November 1961, she was invited to perform as part of the Grand Ole Opry's show at Carnegie Hall in New York City. She was joined by Opry stars Minnie Pearl, Grandpa Jones, Jim Reeves, Bill Monroe, Marty Robbins, and Faron Young. Despite positive reviews, New York Journal-American columnist Dorothy Kilgallen commented, "everybody should get out of town because the hillbillies are coming!" The comment upset Cline and did not affect ticket sales. The Opry performance would later be sold out. By the end of year, Cline had won several major industry awards including "Favorite Female Vocalist" from Billboard Magazine and Cashbox Magazines "Most Programmed Female Artist". Also in 1961, Cline was back in the studio to record an upcoming album. Among the first songs she recorded was "She's Got You". Written by Hank Cochran, he pitched the song to Cline over the phone. Insisting to hear it in-person, Cochran brought the recording over to her house, along with a bottle of alcohol. Upon listening to it again, she liked the song and wanted to record it. Owen Bradley also liked the song and it was officially recorded on December 17, 1961. "She's Got You" became her third country-pop crossover hit by early 1962. "She's Got You" would also be her second number 1 hit on the Billboard country chart. It was also Cline's first entry in the United Kingdom singles chart, reaching number 43. The cover by Alma Cogan, one of Britain's most popular female artists of the 1950s, performed notably as well.
In 1962, Cline had three major hits with "When I Get Through with You", "So Wrong" and "Imagine That". Cline's career successes helped her become financially stable enough to purchase her first home. She bought a ranch house located Goodlettsville, Tennessee, a suburb of Nashville. The home was decorated by Cline and included a music room, several bedrooms and a large backyard. According to Dottie West, "the house was her mansion, the sign she'd arrived." Cline called it her "dream home" and often had friends over to visit. After her death, the house was sold to country artist Wilma Burgess. In the summer of 1962, manager Randy Hughes got her a role in a country music vehicle film. It also starred Dottie West, Webb Pierce and Sonny James. After arriving to film in DeLand, Florida, the producer had "ran off with the money", according to West. The movie was never made. In August, her third studio album Sentimentally Yours was released. It featured "She's Got You" as well as several country and pop standards. According to biographer Ellis Nassour, her royalties "were coming in slim" and she needed "financial security". Therefore, Randy Hughes arranged Cline to work at the Merri-Mint Theatre in Las Vegas, Nevada for 35 days. Cline would later dislike the experience. During the engagement, she developed a dry throat. She also was homesick and wanted to spend time with her children. By appearing at the engagement, Cline became the first female country artist to headline her own show in Las Vegas.
During this period Cline was said to have experienced premonitions of her own death. Dottie West, June Carter Cash, and Loretta Lynn recalled Cline telling them she felt a sense of impending doom and did not expect to live much longer. In letters, she would also describe the happiness of her new career successes. In January 1963, her next single "Leavin' on Your Mind" was released and debuted on the Billboard country chart soon after. In February, she recorded her final sessions for Decca Records. Among the songs recorded were "Sweet Dreams", "He Called Me Baby", and "Faded Love". Cline arranged for friends Jan Howard and Dottie West to come and hear the session playbacks. According to Howard, "I was in awe of Patsy. You know, afterward you're supposed to say something nice. I couldn't talk. I was dumbfounded."
Personal life
Friendships
Cline had close friendships with several country artists and performers. Her friendship with Loretta Lynn has been the subject of numerous books, songs, films and other projects. The pair first met when Lynn performed "I Fall to Pieces" on the radio shortly after Cline's 1961 car accident. Cline heard the broadcast and sent her husband to pick up Lynn so they could meet. According to Lynn, the pair became close friends "right away". Lynn later described their friendship in detail, "She taught me a lot about show business, like how to go on a stage and how to get off. She even bought me a lot of clothes...She even bought me curtains and drapes for my house because I was too broke to buy them...She was a great human being and a great friend." Lynn also noted they became so close that Cline even gave her underwear. Lynn still has the underwear in storage, saying it was "well-made".
Dottie West was another female country artist with whom Cline became friends. They first met backstage at the Grand Ole Opry. West wrote Cline a fan letter after hearing her first hit "Walkin' After Midnight". According to West, Cline "showed a genuine interest in her career" and they became close friends. The pair often spent time at their homes and worked on packaged tour dates together. West also stated Cline was a supportive friend who helped out in times of need.
Jan Howard was a third female artist with whom Cline had a close friendship. The pair first met when Cline tried starting an argument with Howard backstage at the Grand Ole Opry. She said to Howard, "You're a conceited little son of a bitch! You just go out there, do your spot, and leave without saying hello to anyone." Howard was upset and replied angrily back. Cline then laughed and said, "Slow down! Hoss, you're all right. Anybody that'll stand there and talk back to the Cline like that is all right...I can tell we're gonna be good friends!" The pair remained close for the remainder of Cline's life. Other friendships Cline had with female artists included Brenda Lee, Barbara Mandrell and pianist Del Wood. She also became friends with male country artists including Roger Miller, who helped Cline find material to record. Faron Young was another male artist whom Cline befriended from working on tour together. While on tour, the pair would spend time together, including a trip to Hawaii where the pair saw a hula show.
Family
Cline's mother Hilda Hensley continued living in Winchester, Virginia following her daughter's death. She rented out the family's childhood home on South Kent Street and lived across the street. Following Cline's death, Hensley briefly spent time raising her two grandchildren in Virginia. Hensley maintained a closet full of her daughter's stage costumes, including a sequined dress Cline wore while performing in Las Vegas in 1962. She worked as a seamstress and made many of her daughter's stage costumes. Hensley died from natural causes in 1998. Cline's father Samuel Hensley died of lung cancer in 1956. Hensley had previously deserted the family in 1947 and shortly before his death, Cline and her mother visited him at a hospital in Martinsburg, West Virginia. After discovering his current state, Cline said to her mother, "Mama, I know what-all he did, but it seems he's real sick and may not make it. In spite of everything, I want to visit him." Both of Cline's surviving siblings fought in court over their mother's estate. Because of legal fees, many of Cline's possessions were sold at auction.
Cline had two surviving children at the time of her death: Julie Simadore (born 1958) and Allen Randolph "Randy" (born 1961). Julie has been a significant factor in keeping her mother's legacy alive. She has appeared at numerous public appearances in support of her mother's music and career. Following the death of her father in 2015, she helped open a museum dedicated to Cline in Nashville, Tennessee. Julie has few memories of her mother due to Cline's death while she was young. In an interview with People Magazine, Julie discussed her mother's legacy, "I do understand her position in history, and the history of Nashville and country music...I'm still kind of amazed at it myself, because there's 'Mom' and then there's 'Patsy Cline,' and I'm actually a fan."
The present day American female blues, swing, and rock and roll singer, songwriter and record producer, Casey Hensley, is a distant relation of Cline's.
Marriages
Cline was married twice. Her first marriage was to Gerald Cline, on March 7, 1953. His family had owned a contracting and excavating company in Frederick, Maryland. According to Cline's brother Sam, he liked "flashy cars and women." The two met while she was performing with Bill Peer at the Moose Lodge in Brunswick, Maryland. According to Gerald Cline, "It might not have been love at first sight when Patsy saw me, but it was for me." Gerald Cline often took her to "one-nighters" and other concerts she performed in. Although he enjoyed her performances, he could not get used to her touring and road schedule. Patsy had told a friend during their marriage that she didn't think she "knew what love was" upon marrying Gerald. The pair began living separately by the end of 1956 and divorced in 1957.
Cline married her second husband Charlie Dick on September 15, 1957. The pair met in 1956 while Cline was performing with a local Virginia band. At the time, Dick was a linotype operator for local newspaper, The Winchester Star. According to Dick, he had asked Cline to dance and she replied, "I can't dance while I'm working, okay?" They eventually started spending time together and Cline began telling close friends about their relationship. Cline told Grand Ole Opry pianist Del Wood in 1956, "Hoss, I got some news. I met a boy my own age who's a hurricane in pants! Del, I'm in love, and this time, it's for real." The pair had children Julie and Randy together. Their relationship was considered both romantic and tempestuous. According to Robert Oermann and Mary Bufwack, Cline and Dick's marriage was "fueled by alcohol, argument, passion, jealousy, success, tears and laughter." According to biographer Ellis Nassour, the pair fought often but remained together. They had gained a reputation as "heavy drinkers", but according to Dick himself, they were not "drunks". During one particular fight, Cline had Dick arrested after they became physical with one another. Following Cline's death in 1963, Dick married country artist Jamey Ryan in 1965. The pair divorced in the early 1970s after having one child together. Dick helped with keeping Cline's legacy alive for the remainder of his own life. He assisted in producing several documentaries about Cline's career including Remembering Patsy and The Real Patsy Cline. He became involved with Hallway Productions in the 1990s and helped produce videos on other artists including Willie Nelson and The Mamas and the Papas. Dick died in 2015.
Death
On March 3, 1963, Cline performed a benefit at the Soldiers and Sailors Memorial Hall, Kansas City, Kansas, for the family of disc jockey "Cactus" Jack Call; he had died in an automobile crash a little over a month earlier. Also performing in the show were George Jones, George Riddle and The Jones Boys, Billy Walker, Dottie West, Wilma Lee and Stoney Cooper, George McCormick, the Clinch Mountain Boys as well as Cowboy Copas and Hawkshaw Hawkins. Despite having a cold, Cline gave three performances: 2:00, 5:15 and 8:15 pm. All the shows were standing-room only. For the 2 p.m. show, she wore a sky-blue tulle-laden dress; for the 5:15 show a red shocker; and for the closing show at 8 p.m., Cline wore white chiffon. Her final song was the last she had recorded the previous month, "I'll Sail My Ship Alone".
Cline, who had spent the night at the Town House Motor Hotel, was unable to fly out the day after the concert because Fairfax Airport was fogged in. West asked Patsy to ride in the car with her and husband, Bill, back to Nashville, a 16-hour drive, but Cline refused, saying, "Don't worry about me, Hoss. When it's my time to go, it's my time." On March 5, she called her mother from the motel and checked out at 12:30 p.m., going the short distance to the airport and boarding a Piper PA-24 Comanche plane, aircraft registration number N7000P. On board were Cline, Copas, Hawkins and pilot Randy Hughes.
The plane stopped once in Rogers, Arkansas to refuel and subsequently landed at Dyersburg Municipal Airport in Dyersburg, Tennessee at 5 p.m. Hawkins had accepted Billy Walker's place after Walker left on a commercial flight to take care of a stricken family member. The Dyersburg, Tennessee, airfield manager suggested that they stay the night because of high winds and inclement weather, offering them free rooms and meals. But Hughes, who was not trained in instrument flying, said "I've already come this far. We'll be there before you know it." The plane took off at 6:07 p.m.
Cline's flight crashed in heavy weather on the evening of Tuesday, March 5, 1963. Her recovered wristwatch had stopped at 6:20 p.m. The plane was found some from its Nashville destination, in a forest outside of Camden, Tennessee. Forensic examination concluded that everyone aboard had been killed instantly. Until the wreckage was discovered the following dawn and reported on the radio, friends and family had not given up hope. Endless calls tied up the local telephone exchanges to such a degree that other emergency calls had trouble getting through. The lights at the destination Cornelia Fort Airpark were kept on throughout the night, as reports of the missing plane were broadcast on radio and TV.
Early in the morning, Roger Miller and a friend went searching for survivors: "As fast as I could, I ran through the woods screaming their names—through the brush and the trees—and I came up over this little rise, oh, my God, there they were. It was ghastly. The plane had crashed nose down." Shortly after the bodies were removed, looters scavenged the area. Some of the items which were recovered were eventually donated to the Country Music Hall of Fame. Among them were Cline's wristwatch, a Confederate flag cigarette lighter, studded belt and three pairs of gold lamé slippers. Cline's fee in cash from the last performance was never recovered. Per her wishes, Cline's body was brought home for her memorial service, which thousands attended. People jammed against the small tent over her gold casket and the grave to take all the flowers they could reach as keepsakes. She was buried at Shenandoah Memorial Park in her hometown of Winchester, Virginia. Her grave is marked with a bronze plaque, which reads: "Virginia H. Dick ('Patsy Cline' is noted under her name) 'Death Cannot Kill What Never Dies: Love'." A memorial marks the exact place off Mt Carmel Road in Camden, Tennessee, where the plane crashed in the still-remote forest.
Posthumous releases
Music
Since Cline's death, Decca Records (later bought by MCA) has re-released her music which has made her commercially successful posthumously. The Patsy Cline Story was the first compilation album the label released following her death. It included the songs "Sweet Dreams (Of You)" and "Faded Love". Both tracks were released as singles in 1963. "Sweet Dreams" would reach number 5 on the Billboard country charts and 44 on the Hot 100. "Faded Love" would also become a top 10 hit on the Billboard country chart, peaking at number 7 in October 1963. In 1967, Decca released the compilation Patsy Cline's Greatest Hits. The album would not only peak at number 17 on the Billboard country chart, but also certified diamond in sales from the Recording Industry Association of America. In 2005, the Guinness World Book of Records included Greatest Hits for being the longest album on any record chart by any female artist.
Cline's music continued making the charts into the 1980s. Her version of "Always" made the Billboard country chart in 1980. An album of the same was also released in 1980 that peaked within the top 30 on the Billboard Top Country Albums chart. Two overdubbed duets between Cline and Jim Reeves became major hits during this time as well. Following the release of the Loretta Lynn biopic Coal Miner's Daughter (1980), there was renewed interest in Cline's career. Therefore, MCA Records reissued much of Cline's earlier studio and compilation releases. Her 1967 greatest hits album for example was repackaged in 1988 and labeled 12 Greatest Hits. The record reached number 27 on the Top Country Albums list in 1990. The soundtrack for Cline's own film biopic was released concurrently with the movie in 1985. The soundtrack would peak at number 6 on the Billboard country albums chart upon its release.
In 1991, MCA records issued her first box set entitled The Patsy Cline Collection. The album chronicled all of Cline's recorded material for Four Star and Decca Records. The boxed set received positive reviews, notably by Thom Jurek of Allmusic who rated it five out of five stars. Jurek commented, If an artist ever deserved a box set chronicling her entire career, it is Patsy Cline. Having recorded 102 sides between 1955 and her death at the age of 30 in 1963, Cline changed not only country music forever, but affected the world of pop as well. Over four CDs, arranged chronologically, the listener gets treated to a story in the development and maturation of a cultural icon who was at least, in terms of her gift, the equal of her legend. Rolling Stone listed the box set among their "50 Greatest Albums of All-Time". Writer Rob Sheffield called Cline "a badass cowgirl drama queen belts some of the torchiest, weepiest country songs ever, hitting high notes that make you sob into your margarita." The Patsy Cline Collection would reach number 29 on the Billboard country albums chart in January 1992. In 1997, MCA released Live at the Cimarron Ballroom, a rare recording that had recently resurfaced. Jeweler Bill Frazee had originally purchased a tape in 1975 which he discovered included Cline's live recording. The live performance on the record took place in July 1961, following Cline's car accident. She appeared at the Cimarron Ballroom in Tulsa, Oklahoma to give a one-night performance. Included on the record was unreleased live performances and dialog with the audience. The album peaked in the top 40 of the Billboard country albums chart. Cline's former MCA label continues releasing material to this day. Cline is listed among the Recording Industry of America's "Best Selling Artists" with a total of over 14 million records sold to date.
Film and television
Cline has been portrayed on film and television several times since the 1980s. The Loretta Lynn biopic Coal Miner's Daughter (1980) renewed interest in her life and career. Cline and Lynn's friendship was portrayed in the 1980 film. Actress Beverly D'Angelo played Cline in the movie and did her own singing of Cline's original material. D'Angelo earned a Golden Globe award nomination for her role. In an interview D'Angelo did for a 2017 PBS documentary, playing the role of Patsy Cline "had a profound impact" on her life and career.
In 1985, a feature film about Cline's life was released entitled Sweet Dreams. The film starred Jessica Lange as Cline and Ed Harris as husband Charlie Dick. Originally, Meryl Streep auditioned for Cline's role but ultimately lost to Lange. The film was produced by Bernard Schwartz, who also produced Coal Miner's Daughter. Original ideas called for scenes between Cline and Lynn, however they were ultimately removed from the final script. The film has been criticized for its lack of accuracy to Cline's own life and its musical production. Kurt Wolff wrote, "the soundtrack, however, featured overdubbed versions of Cline's material – better to stick with the originals." Mark Deming of Allmovie only gave the release two out of five stars. Deming commented, "While it's a wise approach to show how her turbulent marriage paralleled her crossover to Countrypolitan ballads, the melodrama tends to overshadow the celebrity story by relegating her rise to stardom to the background. Due to the historically dubious concerts at carnivals and fairgrounds, it appears as though she wasn't as big a star as she actually was." Deming did praise Lange's performance saying she created a "cheerful and spirited" depiction of Cline. Roger Ebert gave it two stars in his original 1985 review. Ebert said, "There isn't the sense of a well-shaped structure in this movie; there's no clear idea of what the filmmakers thought about Patsy Cline, or what thoughts her life is supposed to inspire." Lange was nominated for an Academy Award for Best Actress for her role as Cline.
Cline was also portrayed in television films. In 1995, a film about the life and career of Cline's friend Dottie West debuted on CBS titled, Big Dreams and Broken Hearts: The Dottie West Story. It included several scenes that showcased West's friendship with Cline. Actress Tere Myers played her in the television movie. Deborah Wilker of the Sun-Sentinel called her performance "terrific" and authentic.
Lifetime aired an original television film Patsy & Loretta in October 2019 on the network. It chronicles Cline's friendship with Loretta Lynn. Cline is portrayed by Megan Hilty and Lynn by Jessie Mueller. The film is directed by the Academy Award-winning screenwriter Callie Khouri. The trailer for the movie was released in July 2019. Patsy & Loretta was filmed on location in Nashville, Tennessee and is co-produced by Lynn's daughter and Cline's daughter, Julie Fudge.
There have been several documentaries made about Cline's life and career. The first was a 1989 documentary entitled The Real Patsy Cline which featured interviews with friends and fellow artists. This included Carl Perkins and Willie Nelson. Another documentary was filmed in 1994 entitled Remembering Patsy. The show was hosted by country artist Michelle Wright, who read letters Cline wrote to friends and family. It included interviews with several artists such as Roy Clark, George Jones and Trisha Yearwood. Both documentaries were produced by Cline's widower Charlie Dick. In March 2017, PBS released a documentary on Cline as part of their American Masters series. The film was narrated by Rosanne Cash and featured interviews with fans of Cline. These interviews included Beverly D'Angelo and Reba McEntire. It also included rare performances of songs such as "Three Cigarettes (In an Ashtray)" and "Walkin' After Midnight".
Plays and musicals
Cline's life and career has also been re-created in the theater sector. In 1988, the show Always...Patsy Cline premiered. The show was created by Ted Swindley who derived it from a friendship Cline had with Texas resident Louise Seger. The pair met while Cline was performing at the Esquire Ballroom in Houston, Texas. Seger brought Cline home following the show and they spent the night together. The pair would remain in contact through letters before Cline's death. Much of the script relied from letters exchanged between the two during the course of several years. Seger acts as the show's narrator and revisits memories she shared with Cline through their letter exchanges. Among the show's original performers was Mandy Barnett, who debuted the show at the Ryman Auditorium in 1994. Barnett would go on to have a music and performing career. A second musical was later released in 1991 titled A Closer Walk with Patsy Cline. The show was written by Dean Regan and has been called a "musical retelling" of Cline's career.
Artistry
Influences
Cline was influenced by various music artists. Among her earliest influences were pop singers of the 1940s and 1950s. These included Kay Starr, Helen Morgan, Patti Page, and Kate Smith. Patti Page recollected that Cline's husband said to her, "I just wish Patsy could have met you because she just adored you and listened to you all the time and wanted to be like you." Among her primary influences was Kay Starr, of whom Cline was a "fervent devotee" according to The Washington Post. Jack Hurst of the Chicago Tribune remarked that "Her rich, powerful voice, obviously influenced by that of pop's Kay Starr, has continued and perhaps even grown in popularity over the decades." Cline was also attracted to country music radio programs, notably the Grand Ole Opry. According to Mary Bufwack and Robert Oermann, Cline became "obsessed" with the program at a young age. Cline's mother Hilda Hensley commented on her daughter's admiration, "I know she never wanted anything so badly as to be a star on the Grand Ole Opry..." Among performers from the program she admired was Patsy Montana. Cline was also influenced by other types of performers including early rockabilly artist Charline Arthur.
Voice and style
Cline possessed a contralto voice. Time magazine writer Richard Corliss called her voice "bold". Her voice has also been praised for its display of emotion. Kurt Wolff called it one of the most "emotionally expressive voices in modern country music". Tony Gabrielle of the Daily Press wrote that Cline had "a voice of tremendous emotional power." Cline was at times taken by her own emotion. Husband Charlie Dick recounted that Cline's producer Owen Bradley told him to leave a recording session because she was very emotional and he didn't want to disturb the mood. Cline was once quoted in describing the emotion she felt, saying, "Oh Lord, I sing just like I hurt inside."
During her early career, Cline recorded in styles such as gospel, rockabilly, and honky-tonk. These styles she cut for Four Star Records have been considered below the quality of her later work for Decca Records. Steve Leggett of Allmusic commented, Her recordings prior to 1960, though, were something else again, and with the exception of 1956's "Walkin' After Midnight" and perhaps one or two other songs, she seemed reined in and stifled as a singer, even though she was working with the same producer, Owen Bradley, who was to produce her 1960s successes. Oh the difference a song makes, because in the end the material she recorded between 1955 and 1960 – all of which is collected on these two discs – was simply too weak for Cline to turn into anything resembling gold, even with her obvious vocal skills.
Cline's style has been largely associated with the Nashville Sound, a sub-genre of country music that linked traditional lyrics with orchestrated pop music styles. This new sound helped many of her singles to crossover onto the Billboard Hot 100 and gain a larger audience that did not always hear country music. Her producer Owen Bradley built this sound onto her Decca recordings, sensing a potential in her voice that went beyond traditional country music. At first, she resisted the pop-sounding style, but was ultimately convinced to record in this new style. Stephen M. Desuner of Pitchfork explained that Cline has been an identifiable factor with the Nashville Sound: "She essentially rewrote their songs simply by singing them, elevating their words and wringing every one of their rhymes for maximum dramatic potential." Mark Deming of Allmusic commented, "Cline and Bradley didn't invent "countrypolitan," but precious few artists managed to meld the sophistication of pop and the emotional honesty of country as brilliantly as this music accomplishes with seemingly effortless grace, and these songs still sound fresh and brilliantly crafted decades after the fact."
Image
Cline's public image changed during the course of her career. She began her career wearing cowgirl dresses and hats designed by her mother. However, as her music crossed over into pop, she began wearing sequined gowns and cocktail dresses. While she would often wear cowgirl costumes for live performances, she would also wear evening dresses for television and metropolitan performances. For her 1957 performance on Arthur Godfrey's Talent Scouts, the show's producer insisted that Cline wear an evening dress instead of the fringed cowgirl attire she had intended to wear. Her 1962 engagement at the Merri-Mint Theatre in Las Vegas represented this particular image shift. For one of her performances, Cline wore a sequined cocktail dress designed by her mother.
Cline has also been seen as a pioneer for women in country music. She has been cited as an inspiration by many performers in diverse styles of music. Kurt Wolff of Country Music: The Rough Guide said that Cline had an "aggression" and "boisterous attitude" that gained her the respect of her male counterparts. Wolff explained, "She swaggered her way past stereotypes and other forces of resistance, showing the men in charge – and the public in general – that women were more than capable of singing about such hard subjects as divorce and drinking as well as love and understanding. Sean O'Hagan of The Guardian commented that along with Minnie Pearl, Jean Shepard and Kitty Wells, Cline helped prove that country music was not "macho" and that "strong women" could have a "strong voice". In 2013, The Washington Post wrote, "she was what I call a pre-feminist woman. She didn't open doors; she kicked them down." Mary Bufwack and Robert K. Oermann wrote in 2003 that Cline "transformed what it meant to be a female country star".
Legacy
Cline has been cited in both country and pop music as of one of the greatest vocalists of all-time. Her voice has also been called "haunting", "powerful", and "emotional". Cline's emotional expression and delivery of lyrics helped influence various musical genres and artists. With the support of producer Owen Bradley, Cline has been said to "help define" the Nashville Sound style of country music. While the subgenre has received mixed opinions, it has also been said to be a significant part of country music's "authenticity", with Cline being the center focal point of the subgenre. Other artists have noted her impact, including LeAnn Rimes who stated, "I remember my dad telling me to listen to the way she told a story... I remember feeling more emotion when she sang than anyone else I had ever heard." Lucinda Williams commented on Cline's vocal talent in helping define her legacy, stating, "Even though her style is considered country, her delivery is more like a classic pop singer... That's what set her apart from Loretta Lynn or Tammy Wynette. You'd almost think she was classically trained."
Cline has been a major influence on various music artists including Reba McEntire, Loretta Lynn, LeAnn Rimes, k.d. lang, Linda Ronstadt, Trisha Yearwood, Sara Evans, Dottie West, Kacey Musgraves, Margo Price, Cyndi Lauper, Trixie Mattel and Brandi Carlile. Dottie West (also a close friend of Cline's) spoke about her influence on her own career, "I think I was most influenced by Patsy Cline, she said things for people. There was so much feeling in there. In fact, she told me, 'Hoss, if you can't do it with feeling, don't'". In 2019, Sara Evans discussed how Cline has been an influence since she was a young girl, "I learned everything I could learn about her. I tried to mimic her singing to the ‘t’. We grew up singing in bars — my brothers, sisters and I — from the time I was really little. So I started covering every Patsy Cline song. Then when I first got my record deal I came to Winchester to visit a radio station to try to get them to play my song Three Chords and the Truth."
In 1973, Cline was inducted into the Country Music Hall of Fame. With the induction, she became the first solo female artist to be included. In 1977, Cline's friend and mentee Loretta Lynn released a tribute album entitled I Remember Patsy. The record contained covers of Cline's songs, including "Back in Baby's Arms" and "Crazy". The album's lead single was "She's Got You", which would reach the number 1 spot on the Billboard country chart in 1977. In 1995, Cline received a Grammy Lifetime Achievement Award for her legacy and career. Additionally, her hits "I Fall to Pieces" and "Crazy" received inductions into the Grammy Hall of Fame.
In 1993, Cline was included on United States postal stamps as part of their "Legends" series. Other country artists that were included on stamp series were The Carter Family, Hank Williams, and Bob Wills. The stamps were dedicated in an official ceremony at the Grand Ole Opry by Postmaster General Marvin Runyon. In August 1999, Cline received a star on the Hollywood Walk of Fame. The ceremony was attended by her widower Charlie Dick and daughter Julie Fudge. During the 1990s, two of her songs were voted among the "Greatest Juke Box Hits of All-Time". "Crazy" was voted as the number 1 greatest, along with "I Fall to Pieces" ranking at number 17.
Since the late 1990s, she received additional rankings and honors. In 1999, Cline was ranked at number 11 among VH1's list of the "100 Greatest Women of Rock and Roll". In 2003, she was included by Country Music Television on their list of the "40 Greatest Women of Country Music". In 2010, Cline ranked at number 46 on Rolling Stones list of the "100 Greatest Singers of All-Time". The magazine would rank her on their 2017 list of the "100 Greatest Country Artists of All-Time", where she placed at number 12.
Forty years after her death, MCA Nashville released a tribute album entitled Remembering Patsy Cline (2003). A television special also followed around the same time. The album consisted of cover versions of songs taken from Cline's 1967 greatest hits album. It included songs covered by country artists such as Terri Clark and Martina McBride. It also featured artists from other genres such as Michelle Branch, Diana Krall and Patti Griffin.
Cline's hometown of Winchester, Virginia has helped honor her legacy and career. In 1987, the local government approved the placing of markers within the town denoting it as the birthplace of Cline. The same year, a bell tower was erected in her burial location at Shenandoah Memorial Park. The bell tower cost thirty five thousand dollars and was partially funded by Cline's friends Jan Howard and Loretta Lynn. In 2005, Cline's childhood home was given an official on-site marker and included on the National Register of Historic Places. With the development of an organization entitled Celebrating Patsy Cline Inc., renovations began on Cline's childhood home. In August 2011, the Patsy Cline House officially opened as a historic home for tours. In almost three months, about three thousand people visited the home. The home was restored to the era in which Cline lived in it during the 1950s with her mother and siblings. Replicas of furniture and stage clothes are also included. Daughter Julie Fudge spoke of the house in 2011, stating, “I think when you go into the house, you will kind of feel like this is a snapshot of what it would have been like to visit when Mom lived there.”
In 2017, the Patsy Cline Museum opened in Nashville, Tennessee, located at 119 3rd Ave. S., on the second floor in the same building as the Johnny Cash Museum. The museum includes Cline's actual stage costumes, as well as her original scrapbook and record albums. The Patsy Cline Museum features other artifacts, such as the soda fountain machine from Gaunt's Drug Store, where Cline worked as a teenager. Original letters that Cline wrote to friends are also included as part of the museum.
Discography
Studio albums
1957: Patsy Cline
1961: Patsy Cline Showcase
1962: Sentimentally Yours
Posthumous studio albums
1964: A Portrait of Patsy Cline
1964: That's How a Heartache Begins
1980: Always
References
Footnotes
Books
Further reading
Bego, Mark. I Fall to Pieces: The Music and the Life of Patsy Cline. Adams Media Corporation.
Hazen, Cindy and Mike Freeman. Love Always, Patsy. The Berkley Publishing Group.
Jones, Margaret (1998). "Patsy Cline". In The Encyclopedia of Country Music. Paul Kingsbury, Editor. New York: Oxford University Press. pp. 98–9.
Gomery, Douglas Patsy Cline: The Making of an Icon. Trafford Publishing.
External links
Celebrating Patsy Cline an official organization sponsoring several projects
Patsy Cline Home and Museum located in Winchester, Virginia
Patsy Cline recordings at the Discography of American Historical Recordings.
The Patsy Cline Plane Crash
1932 births
1963 deaths
20th-century American composers
20th-century American singers
20th-century American women singers
20th-century women composers
Accidental deaths in Tennessee
American contraltos
American country singer-songwriters
American women composers
American women country singers
American women pop singers
American women singer-songwriters
American rockabilly musicians
Country Music Hall of Fame inductees
Country musicians from Tennessee
Country musicians from Virginia
Cowgirl Hall of Fame inductees
Deaths in Tennessee
Decca Records artists
Four Star Records artists
Grammy Lifetime Achievement Award winners
Grand Ole Opry members
People from Goodlettsville, Tennessee
People from Winchester, Virginia
Rock and roll musicians
Singer-songwriters from Virginia
Torch singers
Traditional pop music singers
Victims of aviation accidents or incidents in 1963
Victims of aviation accidents or incidents in the United States
Musicians killed in aviation accidents or incidents
Singer-songwriters from Tennessee
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[
"Winchester is the name of some places in the U.S. state of Wisconsin:\n\nWinchester (community), Vilas County, Wisconsin, an unincorporated community in Vilas County\nWinchester (CDP), Wisconsin, a census-designated place in Winnebago County\nWinchester, Vilas County, Wisconsin, a town in Vilas County\nWinchester, Winnebago County, Wisconsin, a town in Winnebago County",
"Winchester is an unincorporated community in Macon County, in the U.S. state of Georgia.\n\nHistory\nA post office called Winchester was established in 1851, and remained in operation until 1935. The community's name most likely is a transfer from Winchester, in England.\n\nReferences\n\nUnincorporated communities in Georgia (U.S. state)\nUnincorporated communities in Macon County, Georgia"
] |
[
"Patsy Cline",
"Early years",
"Was she musical from childhood?",
"She was the eldest child of seamstress Hilda Virginia (nee Patterson, 1916-1998) and blacksmith Samuel Lawrence Hensley (1889-1956).",
"When did she discover she had talent for singing?",
"When Patsy was 13,",
"When did she start singing professionally?",
"she asked WINC (AM) disc jockey Jimmy McCoy if she could sing on his show. Her performance in 1947 was well received",
"Did that lead to other opportunities?",
"This led to appearances at local nightclubs wearing fringed Western outfits that her mother made from Patsy's designs.",
"What city or town was that in?",
"Cline performed in variety and talent shows in the Winchester and Tri-State areas,",
"What state in Winchester in?",
"I don't know."
] |
C_eb67cd934c274c28837e9c932e60a6af_1
|
Did she attract the attention of management when she was playing in those nightclubs?
| 7 |
Did Patsy Cline attract the attention of management when she was playing in Winchester nightclubs?
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Patsy Cline
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Patsy Cline was born Virginia Patterson Hensley on September 8, 1932 in Winchester, Virginia, in the city's Memorial Hospital. She was the eldest child of seamstress Hilda Virginia (nee Patterson, 1916-1998) and blacksmith Samuel Lawrence Hensley (1889-1956). She had a brother Samuel Jr. (1939-2004) and a sister Sylvia. The family moved often before finally settling in Winchester, Virginia when Patsy was 16. Sam Hensley deserted his family in 1947, but the children's home was reportedly happy nonetheless. When Patsy was 13, she was hospitalized with a throat infection and rheumatic fever. She later said, "The fever affected my throat and when I recovered I had this booming voice like Kate Smith." Cline enrolled at John Handley High School but never attended classes. To help her mother support their family, she worked as a soda jerk at Gaunt's Drug Store and a waitress at the Triangle Diner. She watched performers through the window at the local radio station, and she asked WINC (AM) disc jockey Jimmy McCoy if she could sing on his show. Her performance in 1947 was well received and she was asked back. This led to appearances at local nightclubs wearing fringed Western outfits that her mother made from Patsy's designs. Cline performed in variety and talent shows in the Winchester and Tri-State areas, and she gained a large following through the shows and local radio appearances. Jimmy Dean was already a country star in 1954, and she became a regular with him on Connie B. Gay's Town and Country Jamboree radio show on WAVA (AM) in Arlington County, Virginia. CANNOTANSWER
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CANNOTANSWER
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Patsy Cline (born Virginia Patterson Hensley; September 8, 1932 – March 5, 1963) was an American singer. She is considered one of the most influential vocalists of the 20th century and was one of the first country music artists to successfully cross over into pop music. Cline had several major hits during her eight-year recording career, including two number-one hits on the Billboard Hot Country and Western Sides chart.
Cline's first professional performances began at the local WINC radio station when she was fifteen. In the early 1950s, Cline began appearing in a local band led by performer Bill Peer. Various local appearances led to featured performances on Connie B. Gay's Town and Country television broadcasts. It also led to the signing of her first recording contract with the Four Star label in 1954. She had minor success with her earliest Four Star singles including "A Church, a Courtroom, Then Goodbye" (1955) and "I've Loved and Lost Again" (1956). In 1957 however, Cline made her first national television appearance on Arthur Godfrey's Talent Scouts. After performing "Walkin' After Midnight", the single would become her first major hit on both the country and pop charts.
Cline's further singles with Four Star Records were unsuccessful, although she continued performing and recording. After marrying in 1957 and giving birth in 1958, she moved to Nashville, Tennessee, to further her career. Working with new manager Randy Hughes, Cline would become a member of the Grand Ole Opry and then move to Decca Records in 1960. Under the direction of producer Owen Bradley, her musical sound shifted and she achieved consistent success. The 1961 single "I Fall to Pieces" would become her first to top the Billboard country chart. As the song became a hit, Cline was severely injured in an automobile accident, which caused her to spend a month in the hospital. After she recovered, her next single release "Crazy" would also become a major hit.
Between 1962 and 1963, Cline had hits with "She's Got You", "When I Get Through with You", "So Wrong" and "Leavin' on Your Mind". She also toured and headlined shows with more frequency. In March 1963, Cline was killed in a plane crash along with country performers Cowboy Copas, Hawkshaw Hawkins and manager Randy Hughes, during a flight from Kansas City, Kansas back to Nashville.
Since her death, Cline has been cited as one of the most celebrated, respected and influential performers of the 20th century. Her music has influenced performers of various styles and genres. She has also been seen as a forerunner for women in country music, being among the first to sell records and headline concerts. In 1973, she became the first female performer to be inducted into the Country Music Hall of Fame. In the 1980s, Cline's posthumous successes continued in the mass media. She was portrayed twice in major motion pictures, including the 1985 biopic Sweet Dreams starring Jessica Lange. Several documentaries and stage shows were released during this time, including the 1988 musical Always...Patsy Cline. A 1991 box set of her recordings was issued that received critical acclaim. Her greatest hits album sold over 10 million copies in 2005. In 2011, Cline's childhood home was restored as a museum for visitors and fans to tour. In 2017, Cline’s Dream Home in Nashville, TN was placed on the Tennessee Historical Markers List by the Patsy Cline Fan Home Owners, Steven Shirey and Thomas Corritore.
Early life
Cline was born Virginia Patterson Hensley in Winchester, Virginia on September 8, 1932, to Hilda Virginia (née Patterson; 1916–1998) and Samuel Lawerence Hensley (1889–1956). Mrs. Hensley was only 16 years old at the time of Cline's birth. Sam Hensley had been married before; Cline had two half siblings (aged 12 and 15) that lived with a foster family because of their mother's death years before. After Cline, Hilda Hensley would also have Samuel Jr. (called John) and Sylvia Mae. Besides being called "Virginia" in her childhood, Cline was also referred to as "Ginny". She temporarily lived with her mother's family in Gore, Virginia before relocating many times throughout the state. In her childhood, the family relocated where Samuel Hensley, a blacksmith, could find employment, including Elkton, Staunton, and Norfolk. When the family had little money, she would find work. This included an Elkton poultry factory, where her job was to pluck and cut chickens. The family moved often before finally settling in Winchester, Virginia on South Kent Street. Cline would later report that her father sexually abused her. When confiding about the abuse to friend Loretta Lynn, Cline told her, "take this to your grave". Hilda Hensley would later report details of the abuse to producers of Cline's 1985 biopic Sweet Dreams.
At age 13, Cline was hospitalized with a throat infection and rheumatic fever. Speaking of the incident in 1957 she said, "I developed a terrible throat infection and my heart even stopped beating. The doctor put me in an oxygen tent. You might say it was my return to the living after several days that launched me as a singer. The fever affected my throat and when I recovered I had this booming voice like Kate Smith's." It was during this time she developed an interest in singing. She started performing with her mother in the local Baptist choir. Mother and daughter also performed duets at church social events. She also taught herself how to play the piano.
With the new performing opportunities, Cline's interest in singing only grew further and at the age of 14, she told her mother that she was going to audition for the local radio station. Her first radio performances began at WINC in the Winchester area. According to WINC's radio disc jockey Joltin' Jim McCoy, Cline appeared in the station's waiting room one day and asked to audition. McCoy was impressed by her audition performance, reportedly saying, "Well, if you've got nerve enough to stand before that mic and sing over the air live, I've got nerve enough to let you." While also performing on the radio, Cline also started appearing in talent contests and created a nightclub cabaret act similar to performer Helen Morgan.
Cline's mother and father had marital conflicts during her childhood and by 1947, her father deserted the family. Author Ellis Nassour of the biography Honky Tonk Angel: An Intimate Story of Patsy Cline reported Cline had a "beautiful relationship" with her mother. In his interviews with Hilda Hensley, he quoted Cline's mother in saying they "were more like sisters" than parent and child. Upon entering the ninth grade, Cline enrolled at John Handley High School in Winchester, Virginia. However, the family had trouble sustaining an income after her father's desertion. Therefore, Cline dropped out of high school to help support the family. She began working at Gaunt's Drug Store in the Winchester area as a clerk and soda jerk.
Career
1948–1953: Early career
At age 15, Cline wrote a letter to the Grand Ole Opry asking for an audition. She told local photographer Ralph Grubbs about the letter, "A friend thinks I'm crazy to send it. What do you think?" Grubbs encouraged Cline to send it. Several weeks later, she received a return letter from the Opry asking for pictures and recordings. At the same time, Gospel performer Wally Fowler headlined a concert in her hometown. Cline convinced concert employees to let her backstage where she asked Fowler for an audition. Following a successful audition, Cline's family received a call asking for her to audition for the Opry. She traveled with her mother, two siblings, and a family friend on an eight-hour journey to Nashville, Tennessee. With limited finances, they drove overnight and slept in a Nashville park the following morning. Cline auditioned for Opry performer Moon Mullican the same day. The audition was well-received and Cline expected to hear from the Opry the same day. However, she never received news and the family returned to Virginia.
By the early 1950s, Cline continued performing around the local area. In 1952, she asked to audition for local country bandleader Bill Peer. Following her audition, she began performing regularly as a member of Bill Peer's Melody Boys and Girls. The pair's relationship turned romantic, continuing an affair for several years. Nonetheless, the pair remained married to their spouses. Peer's group played primarily at the Moose Lodge in Brunswick, Maryland where she would meet her first husband, Gerald Cline. Peer encouraged her to have a more appropriate stage name. She changed her first name from Virginia to Patsy (taken from her middle name "Patterson"). She kept her new last name, Cline. Ultimately, she became professionally known as "Patsy Cline".
In August 1953, Cline was a contestant in a local country music contest. She won 100 dollars and the opportunity to perform as a regular on Connie B. Gay's Town and Country Time. The show included country stars Jimmy Dean, Roy Clark, George Hamilton IV and Billy Grammer, and was filmed in Washington D.C. and Arlington, Virginia. She was not officially added to the program's television shows until October 1955. Cline's television performances received critical acclaim. The Washington Star magazine praised her stage presence, commenting, "She creates the moods through movement of her hands and body and by the lilt of her voice, reaching way down deep in her soul to bring forth the melody. Most female country music vocalists stand motionless, sing with monotonous high-pitched nasal twang. Patsy's come up with a throaty style loaded with motion and E-motion."
1954–1960: Four Star Records
In 1954, Bill Peer created and distributed a series of demonstration tapes with Cline's voice on it. A tape was brought to the attention of Bill McCall, president of Four Star Records. On September 30, 1954, she signed a two-year recording contract with the label alongside Peer and her husband Gerald Cline. The original contract allowed Four Star to receive most of the money for the songs she recorded. Therefore, Cline received little of the royalties from the label, totaling out to 2.34 percent on her recording contract. Her first recording session took place in Nashville, Tennessee on January 5, 1955. Songs for the session were handpicked by McCall and Paul Cohen. Four Star leased the recordings to the larger Decca Records. For those reasons Owen Bradley was chosen as the session's producer, a professional relationship that would continue into the 1960s. Her first single release was 1955's "A Church, a Courtroom, Then Goodbye". Although Cline promoted it with an appearance on the Grand Ole Opry the song was not successful.
Cline recorded a variety of musical styles while recording for Four Star. This included genres such as gospel, rockabilly, traditional country and pop. Writers and music journalists have had mixed beliefs on Cline's Four Star material. Robert Oermann and Mary Bufwack of Finding Her Voice: Women in Country Music called the label's choice of material "mediocre". They also commented that Cline seemed to have "groped for her own sound on the label". Kurt Wolff of Country Music the Rough Guide commented that the music was "sturdy enough, but they only hinted at the potential that lurked inside her. Richie Unterberger of Allmusic claimed it was Cline's voice that made the Four Star material less appealing: "Circumstances were not wholly to blame for Cline's commercial failures. She would have never made it as a rockabilly singer, lacking the conviction of Wanda Jackson or the spunk of Brenda Lee. In fact, in comparison with her best work, she sounds rather stiff and ill-at-ease on most of her early singles."
Between 1955 and 1956, Cline's four singles for Four Star failed to become hits. However, she continued performing regionally, including on the Town and Country Jamboree. In 1956, she appeared on ABC's Country Music Jubilee, Ozark Jubilee. It was at one of her local performances that she met her second husband, Charlie Dick. In 1956, Cline received a call to perform on Arthur Godfrey's Talent Scouts, a national television show she had auditioned for several months prior. She accepted the offer, using her mother Hilda Hensley as her talent scout for the show. According to the show's rules, talent scouts could not be family members. For those reasons, Cline's mother lied in order to appear on the show. When Arthur Godfrey asked if Hensley had known Cline her entire life, she replied, "Yes, just about!"
Cline and Mrs. Hensley flew into LaGuardia Airport in New York City on January 18, 1957. She made her debut appearance on the program on January 21. The day of the show, she met with the show's producer Janette Davis. Cline had chosen "A Poor Man's Roses (Or a Rich Man's Gold)" to perform on the program, but Davis preferred another song she had recorded, "Walkin' After Midnight". Cline initially refused to perform it, but ultimately agreed to it. Davis also suggested Cline wear a cocktail dress instead of the cowgirl outfit created by her mother. She performed "Walkin' After Midnight" and won the program's contest that night. The song had not yet been released as a single. In order to keep up with public demand, Decca Records rush-released the song as a single on February 11. The song ultimately became Cline's breakthrough hit, peaking at number 2 on the Billboard Hot Country and Western Sides chart. The song also reached number 12 on the Billboard pop music chart. The song has since been considered a classic in country music since its release.
Music critics and writers have positively praised "Walkin' After Midnight". Mary Bufwack and Robert Oermann called the song "bluesy". Richie Unterberger noted "it's well-suited for the almost bemused aura of loneliness of the lyric." The success of "Walkin' After Midnight" brought Cline numerous appearances on shows and major networks. She continued working for Arthur Godfrey over the next several months. She also appeared on the Grand Ole Opry in February and the television program Western Ranch Party in March. The money she had earned from her numerous engagements totaled out to ten thousand dollars. Cline gave all the money to her mother, which she used to the pay the mortgage on her Winchester house. In August 1957, her debut studio album was issued via Decca Records.
Cline's follow-up singles to "Walkin' After Midnight" did not yield any success. This was partially due to the quality of material chosen for her to record. Cline was dissatisfied with the limited success following "Walkin' After Midnight". Bradley recounted how she often came to him saying, "Hoss, can't you do something? I feel like a prisoner." Around the same time, Cline was fired from her regular slot on Town and Country Jamboree. According to Connie B. Gay, she ran late for shows and "showed up with liquor on her breath". In September 1957, Cline married Charlie Dick and he was soon sent to Fort Bragg, North Carolina on a military assignment. Cline also gave birth to her first daughter Julie. In hopes of restarting her career, Cline and her family moved to Nashville, Tennessee.
1960–1961: New beginnings and car accident
Cline's professional decisions yielded more positive results by the early 1960s. Upon moving to Nashville, she signed a management deal with Randy Hughes. She originally wished to work with Hubert Long, however, he was busy managing other artists. Instead, she turned her attention to Hughes. With the help of Hughes, she began working steadier jobs. He organized fifty dollar bookings and got her multiple performances on the Grand Ole Opry. In January 1960, Cline officially became a member of the Opry. When she asked general manager Ott Devine about a membership he replied, "Patsy, if that's all you want, you're on the Opry." Also in January 1960, Cline made her final recording sessions set forth in her contract with Four Star Records. Later that year, her final singles with the label were released: "Lovesick Blues" and "Crazy Dreams". Leaving Four Star, Cline officially signed with Decca Records in late 1960, working exclusively under Bradley's direction. Insisting on receiving an advance, she received $1,000 from Bradley once she began at the label.
Her first release under Decca was 1961's "I Fall to Pieces". The song was written by newly established Nashville songwriters Hank Cochran and Harlan Howard. "I Fall to Pieces" had first been turned down by Roy Drusky and Brenda Lee before Cline cut it in November 1960. At the recording session, she worried about the song's production, particularly the background vocals performed by The Jordanaires. After much arguing between both Cline and Bradley, they negotiated that she would record "I Fall to Pieces" (a song Bradley favored) and "Lovin' in Vain" (a song she favored). Released as a single in January 1961, "I Fall to Pieces" attracted little attention upon its initial issue. In April, the song debuted on the Hot Country and Western Sides chart. By August 7, the song became her first to top the country chart. Additionally, "I Fall to Pieces" crossed over onto the Billboard Pop chart, peaking at number 12.
On June 14, 1961, Cline and her brother Sam Hensley, Jr. were involved in an automobile accident. Cline had brought her mother, sister and brother to see her new Nashville home the day before. On the day of the accident, Cline and her brother went shopping to buy material for her mother to make clothing. Upon driving home, their car was struck head-on by another vehicle. The impact threw her directly into the car windshield, causing extensive facial injuries. Among her injuries, Cline suffered a broken wrist, dislocated hip and a large cut across her forehead, barely missing her eyes. Friend Dottie West heard about the accident via the radio and rushed to the scene, helping to remove pieces of broken glass from Cline's hair. When first responders arrived, Cline insisted the driver in the other vehicle be treated first. Two of the three passengers riding in the car that struck Cline died after arriving at the hospital. When she was brought to the hospital, her injuries were life-threatening and she was not expected to live. She underwent surgery and survived. According to her husband Charlie Dick, upon waking up she said to him, "Jesus was here, Charlie. Don't worry. He took my hand and told me, 'No, not now. I have other things for you to do.'" She spent a month recovering in the hospital.
1961–1963: Career peak
Cline returned to her career six weeks after her 1961 car accident. Her first public appearance was on the Grand Ole Opry where she assured fans she would continue performing. She said to the audience that night, "You're wonderful. I'll tell you one thing: the greatest gift, I think, that you folks coulda given me was the encouragement that you gave me. Right at the very time I needed you the most, you came through with the flying-est colors. And I just want to say you'll just never know how happy you made this ol' country gal." Cline's follow-up single to "I Fall to Pieces" was the song "Crazy". It was written by Willie Nelson, whose version of the song was first heard by Dick. When Dick brought the song to Cline she did not like it. When Dick encouraged her to record "Crazy", Cline replied, "I don't care what you say. I don't like it and I ain't gonna record it. And that's that." Bradley liked the song and set the date for its recording for August 17. When Cline got to Bradley's studio, he convinced her to record it. She listened to Nelson's version of "Crazy" and decided she was going to perform it differently. Nelson's version included a spoken section that Cline removed. She cut additional material on August 17 and when she got to "Crazy", it became difficult to perform. Because Cline was still recovering from the accident, performing the song's high notes caused rib pain. Giving her time to rest, Bradley sent her home while musicians laid down the track without her. A week later she returned and recorded her vocal in a single take.
"Crazy" was released as a single in October 1961, debuting on the Billboard country charts in November. It would peak at number 2 there and number 9 on the same publication's pop charts. "Crazy" would also become Cline's biggest pop hit. "Crazy" has since been called a country music standard. Cline's vocal performance and the song's production have received positive praise over time. Cub Koda of AllMusic noted the "ache" in her voice that makes the song stand out: "Cline's reading of the lyric is filled with an aching world weariness that transforms the tune into one of the first big crossover hits without even trying hard." Country music historian Paul Kingsbury also highlighted her "ache", saying in 2007, "Cline's hit recording swings with such velvety finesse, and her voice throbs and aches so exquisitely, that the entire production sounds absolutely effortless." Jhoni Jackon of Paste Magazine called the recording "iconic", highlighting the "pain" Cline had in her vocal technique. Her second studio album Patsy Cline Showcase was released in late 1961. The album featured both major hits from that year and re-recorded versions of "Walkin' After Midnight" and "A Poor Man's Roses (Or a Rich Man's Gold)".
"Crazy" and Cline's further Decca recordings have received critical praise. Mary Bufwack and Robert Oermann noted "Her thrilling voice invariably invested these with new depth. Patsy's dramatic volume control, stretched-note effects, sobs, pauses and unique ways of holding back, then bursting into full-throated phrases also breathed new life into country chestnuts like "San Antonio Rose", "Blue Moon of Kentucky" and "Half as Much". Richie Unterberger of AllMusic commented that her voice "sounded richer, more confident, and more mature, with ageless wise and vulnerable qualities that have enabled her records to maintain their appeal with subsequent generations." Kurt Wolff of Country Music the Rough Guide reported that Owen Bradley recognized potential in Cline's and once he gained studio control, he smoothed arrangements and "refine her voice into an instrument of torch-singing glory."
In November 1961, she was invited to perform as part of the Grand Ole Opry's show at Carnegie Hall in New York City. She was joined by Opry stars Minnie Pearl, Grandpa Jones, Jim Reeves, Bill Monroe, Marty Robbins, and Faron Young. Despite positive reviews, New York Journal-American columnist Dorothy Kilgallen commented, "everybody should get out of town because the hillbillies are coming!" The comment upset Cline and did not affect ticket sales. The Opry performance would later be sold out. By the end of year, Cline had won several major industry awards including "Favorite Female Vocalist" from Billboard Magazine and Cashbox Magazines "Most Programmed Female Artist". Also in 1961, Cline was back in the studio to record an upcoming album. Among the first songs she recorded was "She's Got You". Written by Hank Cochran, he pitched the song to Cline over the phone. Insisting to hear it in-person, Cochran brought the recording over to her house, along with a bottle of alcohol. Upon listening to it again, she liked the song and wanted to record it. Owen Bradley also liked the song and it was officially recorded on December 17, 1961. "She's Got You" became her third country-pop crossover hit by early 1962. "She's Got You" would also be her second number 1 hit on the Billboard country chart. It was also Cline's first entry in the United Kingdom singles chart, reaching number 43. The cover by Alma Cogan, one of Britain's most popular female artists of the 1950s, performed notably as well.
In 1962, Cline had three major hits with "When I Get Through with You", "So Wrong" and "Imagine That". Cline's career successes helped her become financially stable enough to purchase her first home. She bought a ranch house located Goodlettsville, Tennessee, a suburb of Nashville. The home was decorated by Cline and included a music room, several bedrooms and a large backyard. According to Dottie West, "the house was her mansion, the sign she'd arrived." Cline called it her "dream home" and often had friends over to visit. After her death, the house was sold to country artist Wilma Burgess. In the summer of 1962, manager Randy Hughes got her a role in a country music vehicle film. It also starred Dottie West, Webb Pierce and Sonny James. After arriving to film in DeLand, Florida, the producer had "ran off with the money", according to West. The movie was never made. In August, her third studio album Sentimentally Yours was released. It featured "She's Got You" as well as several country and pop standards. According to biographer Ellis Nassour, her royalties "were coming in slim" and she needed "financial security". Therefore, Randy Hughes arranged Cline to work at the Merri-Mint Theatre in Las Vegas, Nevada for 35 days. Cline would later dislike the experience. During the engagement, she developed a dry throat. She also was homesick and wanted to spend time with her children. By appearing at the engagement, Cline became the first female country artist to headline her own show in Las Vegas.
During this period Cline was said to have experienced premonitions of her own death. Dottie West, June Carter Cash, and Loretta Lynn recalled Cline telling them she felt a sense of impending doom and did not expect to live much longer. In letters, she would also describe the happiness of her new career successes. In January 1963, her next single "Leavin' on Your Mind" was released and debuted on the Billboard country chart soon after. In February, she recorded her final sessions for Decca Records. Among the songs recorded were "Sweet Dreams", "He Called Me Baby", and "Faded Love". Cline arranged for friends Jan Howard and Dottie West to come and hear the session playbacks. According to Howard, "I was in awe of Patsy. You know, afterward you're supposed to say something nice. I couldn't talk. I was dumbfounded."
Personal life
Friendships
Cline had close friendships with several country artists and performers. Her friendship with Loretta Lynn has been the subject of numerous books, songs, films and other projects. The pair first met when Lynn performed "I Fall to Pieces" on the radio shortly after Cline's 1961 car accident. Cline heard the broadcast and sent her husband to pick up Lynn so they could meet. According to Lynn, the pair became close friends "right away". Lynn later described their friendship in detail, "She taught me a lot about show business, like how to go on a stage and how to get off. She even bought me a lot of clothes...She even bought me curtains and drapes for my house because I was too broke to buy them...She was a great human being and a great friend." Lynn also noted they became so close that Cline even gave her underwear. Lynn still has the underwear in storage, saying it was "well-made".
Dottie West was another female country artist with whom Cline became friends. They first met backstage at the Grand Ole Opry. West wrote Cline a fan letter after hearing her first hit "Walkin' After Midnight". According to West, Cline "showed a genuine interest in her career" and they became close friends. The pair often spent time at their homes and worked on packaged tour dates together. West also stated Cline was a supportive friend who helped out in times of need.
Jan Howard was a third female artist with whom Cline had a close friendship. The pair first met when Cline tried starting an argument with Howard backstage at the Grand Ole Opry. She said to Howard, "You're a conceited little son of a bitch! You just go out there, do your spot, and leave without saying hello to anyone." Howard was upset and replied angrily back. Cline then laughed and said, "Slow down! Hoss, you're all right. Anybody that'll stand there and talk back to the Cline like that is all right...I can tell we're gonna be good friends!" The pair remained close for the remainder of Cline's life. Other friendships Cline had with female artists included Brenda Lee, Barbara Mandrell and pianist Del Wood. She also became friends with male country artists including Roger Miller, who helped Cline find material to record. Faron Young was another male artist whom Cline befriended from working on tour together. While on tour, the pair would spend time together, including a trip to Hawaii where the pair saw a hula show.
Family
Cline's mother Hilda Hensley continued living in Winchester, Virginia following her daughter's death. She rented out the family's childhood home on South Kent Street and lived across the street. Following Cline's death, Hensley briefly spent time raising her two grandchildren in Virginia. Hensley maintained a closet full of her daughter's stage costumes, including a sequined dress Cline wore while performing in Las Vegas in 1962. She worked as a seamstress and made many of her daughter's stage costumes. Hensley died from natural causes in 1998. Cline's father Samuel Hensley died of lung cancer in 1956. Hensley had previously deserted the family in 1947 and shortly before his death, Cline and her mother visited him at a hospital in Martinsburg, West Virginia. After discovering his current state, Cline said to her mother, "Mama, I know what-all he did, but it seems he's real sick and may not make it. In spite of everything, I want to visit him." Both of Cline's surviving siblings fought in court over their mother's estate. Because of legal fees, many of Cline's possessions were sold at auction.
Cline had two surviving children at the time of her death: Julie Simadore (born 1958) and Allen Randolph "Randy" (born 1961). Julie has been a significant factor in keeping her mother's legacy alive. She has appeared at numerous public appearances in support of her mother's music and career. Following the death of her father in 2015, she helped open a museum dedicated to Cline in Nashville, Tennessee. Julie has few memories of her mother due to Cline's death while she was young. In an interview with People Magazine, Julie discussed her mother's legacy, "I do understand her position in history, and the history of Nashville and country music...I'm still kind of amazed at it myself, because there's 'Mom' and then there's 'Patsy Cline,' and I'm actually a fan."
The present day American female blues, swing, and rock and roll singer, songwriter and record producer, Casey Hensley, is a distant relation of Cline's.
Marriages
Cline was married twice. Her first marriage was to Gerald Cline, on March 7, 1953. His family had owned a contracting and excavating company in Frederick, Maryland. According to Cline's brother Sam, he liked "flashy cars and women." The two met while she was performing with Bill Peer at the Moose Lodge in Brunswick, Maryland. According to Gerald Cline, "It might not have been love at first sight when Patsy saw me, but it was for me." Gerald Cline often took her to "one-nighters" and other concerts she performed in. Although he enjoyed her performances, he could not get used to her touring and road schedule. Patsy had told a friend during their marriage that she didn't think she "knew what love was" upon marrying Gerald. The pair began living separately by the end of 1956 and divorced in 1957.
Cline married her second husband Charlie Dick on September 15, 1957. The pair met in 1956 while Cline was performing with a local Virginia band. At the time, Dick was a linotype operator for local newspaper, The Winchester Star. According to Dick, he had asked Cline to dance and she replied, "I can't dance while I'm working, okay?" They eventually started spending time together and Cline began telling close friends about their relationship. Cline told Grand Ole Opry pianist Del Wood in 1956, "Hoss, I got some news. I met a boy my own age who's a hurricane in pants! Del, I'm in love, and this time, it's for real." The pair had children Julie and Randy together. Their relationship was considered both romantic and tempestuous. According to Robert Oermann and Mary Bufwack, Cline and Dick's marriage was "fueled by alcohol, argument, passion, jealousy, success, tears and laughter." According to biographer Ellis Nassour, the pair fought often but remained together. They had gained a reputation as "heavy drinkers", but according to Dick himself, they were not "drunks". During one particular fight, Cline had Dick arrested after they became physical with one another. Following Cline's death in 1963, Dick married country artist Jamey Ryan in 1965. The pair divorced in the early 1970s after having one child together. Dick helped with keeping Cline's legacy alive for the remainder of his own life. He assisted in producing several documentaries about Cline's career including Remembering Patsy and The Real Patsy Cline. He became involved with Hallway Productions in the 1990s and helped produce videos on other artists including Willie Nelson and The Mamas and the Papas. Dick died in 2015.
Death
On March 3, 1963, Cline performed a benefit at the Soldiers and Sailors Memorial Hall, Kansas City, Kansas, for the family of disc jockey "Cactus" Jack Call; he had died in an automobile crash a little over a month earlier. Also performing in the show were George Jones, George Riddle and The Jones Boys, Billy Walker, Dottie West, Wilma Lee and Stoney Cooper, George McCormick, the Clinch Mountain Boys as well as Cowboy Copas and Hawkshaw Hawkins. Despite having a cold, Cline gave three performances: 2:00, 5:15 and 8:15 pm. All the shows were standing-room only. For the 2 p.m. show, she wore a sky-blue tulle-laden dress; for the 5:15 show a red shocker; and for the closing show at 8 p.m., Cline wore white chiffon. Her final song was the last she had recorded the previous month, "I'll Sail My Ship Alone".
Cline, who had spent the night at the Town House Motor Hotel, was unable to fly out the day after the concert because Fairfax Airport was fogged in. West asked Patsy to ride in the car with her and husband, Bill, back to Nashville, a 16-hour drive, but Cline refused, saying, "Don't worry about me, Hoss. When it's my time to go, it's my time." On March 5, she called her mother from the motel and checked out at 12:30 p.m., going the short distance to the airport and boarding a Piper PA-24 Comanche plane, aircraft registration number N7000P. On board were Cline, Copas, Hawkins and pilot Randy Hughes.
The plane stopped once in Rogers, Arkansas to refuel and subsequently landed at Dyersburg Municipal Airport in Dyersburg, Tennessee at 5 p.m. Hawkins had accepted Billy Walker's place after Walker left on a commercial flight to take care of a stricken family member. The Dyersburg, Tennessee, airfield manager suggested that they stay the night because of high winds and inclement weather, offering them free rooms and meals. But Hughes, who was not trained in instrument flying, said "I've already come this far. We'll be there before you know it." The plane took off at 6:07 p.m.
Cline's flight crashed in heavy weather on the evening of Tuesday, March 5, 1963. Her recovered wristwatch had stopped at 6:20 p.m. The plane was found some from its Nashville destination, in a forest outside of Camden, Tennessee. Forensic examination concluded that everyone aboard had been killed instantly. Until the wreckage was discovered the following dawn and reported on the radio, friends and family had not given up hope. Endless calls tied up the local telephone exchanges to such a degree that other emergency calls had trouble getting through. The lights at the destination Cornelia Fort Airpark were kept on throughout the night, as reports of the missing plane were broadcast on radio and TV.
Early in the morning, Roger Miller and a friend went searching for survivors: "As fast as I could, I ran through the woods screaming their names—through the brush and the trees—and I came up over this little rise, oh, my God, there they were. It was ghastly. The plane had crashed nose down." Shortly after the bodies were removed, looters scavenged the area. Some of the items which were recovered were eventually donated to the Country Music Hall of Fame. Among them were Cline's wristwatch, a Confederate flag cigarette lighter, studded belt and three pairs of gold lamé slippers. Cline's fee in cash from the last performance was never recovered. Per her wishes, Cline's body was brought home for her memorial service, which thousands attended. People jammed against the small tent over her gold casket and the grave to take all the flowers they could reach as keepsakes. She was buried at Shenandoah Memorial Park in her hometown of Winchester, Virginia. Her grave is marked with a bronze plaque, which reads: "Virginia H. Dick ('Patsy Cline' is noted under her name) 'Death Cannot Kill What Never Dies: Love'." A memorial marks the exact place off Mt Carmel Road in Camden, Tennessee, where the plane crashed in the still-remote forest.
Posthumous releases
Music
Since Cline's death, Decca Records (later bought by MCA) has re-released her music which has made her commercially successful posthumously. The Patsy Cline Story was the first compilation album the label released following her death. It included the songs "Sweet Dreams (Of You)" and "Faded Love". Both tracks were released as singles in 1963. "Sweet Dreams" would reach number 5 on the Billboard country charts and 44 on the Hot 100. "Faded Love" would also become a top 10 hit on the Billboard country chart, peaking at number 7 in October 1963. In 1967, Decca released the compilation Patsy Cline's Greatest Hits. The album would not only peak at number 17 on the Billboard country chart, but also certified diamond in sales from the Recording Industry Association of America. In 2005, the Guinness World Book of Records included Greatest Hits for being the longest album on any record chart by any female artist.
Cline's music continued making the charts into the 1980s. Her version of "Always" made the Billboard country chart in 1980. An album of the same was also released in 1980 that peaked within the top 30 on the Billboard Top Country Albums chart. Two overdubbed duets between Cline and Jim Reeves became major hits during this time as well. Following the release of the Loretta Lynn biopic Coal Miner's Daughter (1980), there was renewed interest in Cline's career. Therefore, MCA Records reissued much of Cline's earlier studio and compilation releases. Her 1967 greatest hits album for example was repackaged in 1988 and labeled 12 Greatest Hits. The record reached number 27 on the Top Country Albums list in 1990. The soundtrack for Cline's own film biopic was released concurrently with the movie in 1985. The soundtrack would peak at number 6 on the Billboard country albums chart upon its release.
In 1991, MCA records issued her first box set entitled The Patsy Cline Collection. The album chronicled all of Cline's recorded material for Four Star and Decca Records. The boxed set received positive reviews, notably by Thom Jurek of Allmusic who rated it five out of five stars. Jurek commented, If an artist ever deserved a box set chronicling her entire career, it is Patsy Cline. Having recorded 102 sides between 1955 and her death at the age of 30 in 1963, Cline changed not only country music forever, but affected the world of pop as well. Over four CDs, arranged chronologically, the listener gets treated to a story in the development and maturation of a cultural icon who was at least, in terms of her gift, the equal of her legend. Rolling Stone listed the box set among their "50 Greatest Albums of All-Time". Writer Rob Sheffield called Cline "a badass cowgirl drama queen belts some of the torchiest, weepiest country songs ever, hitting high notes that make you sob into your margarita." The Patsy Cline Collection would reach number 29 on the Billboard country albums chart in January 1992. In 1997, MCA released Live at the Cimarron Ballroom, a rare recording that had recently resurfaced. Jeweler Bill Frazee had originally purchased a tape in 1975 which he discovered included Cline's live recording. The live performance on the record took place in July 1961, following Cline's car accident. She appeared at the Cimarron Ballroom in Tulsa, Oklahoma to give a one-night performance. Included on the record was unreleased live performances and dialog with the audience. The album peaked in the top 40 of the Billboard country albums chart. Cline's former MCA label continues releasing material to this day. Cline is listed among the Recording Industry of America's "Best Selling Artists" with a total of over 14 million records sold to date.
Film and television
Cline has been portrayed on film and television several times since the 1980s. The Loretta Lynn biopic Coal Miner's Daughter (1980) renewed interest in her life and career. Cline and Lynn's friendship was portrayed in the 1980 film. Actress Beverly D'Angelo played Cline in the movie and did her own singing of Cline's original material. D'Angelo earned a Golden Globe award nomination for her role. In an interview D'Angelo did for a 2017 PBS documentary, playing the role of Patsy Cline "had a profound impact" on her life and career.
In 1985, a feature film about Cline's life was released entitled Sweet Dreams. The film starred Jessica Lange as Cline and Ed Harris as husband Charlie Dick. Originally, Meryl Streep auditioned for Cline's role but ultimately lost to Lange. The film was produced by Bernard Schwartz, who also produced Coal Miner's Daughter. Original ideas called for scenes between Cline and Lynn, however they were ultimately removed from the final script. The film has been criticized for its lack of accuracy to Cline's own life and its musical production. Kurt Wolff wrote, "the soundtrack, however, featured overdubbed versions of Cline's material – better to stick with the originals." Mark Deming of Allmovie only gave the release two out of five stars. Deming commented, "While it's a wise approach to show how her turbulent marriage paralleled her crossover to Countrypolitan ballads, the melodrama tends to overshadow the celebrity story by relegating her rise to stardom to the background. Due to the historically dubious concerts at carnivals and fairgrounds, it appears as though she wasn't as big a star as she actually was." Deming did praise Lange's performance saying she created a "cheerful and spirited" depiction of Cline. Roger Ebert gave it two stars in his original 1985 review. Ebert said, "There isn't the sense of a well-shaped structure in this movie; there's no clear idea of what the filmmakers thought about Patsy Cline, or what thoughts her life is supposed to inspire." Lange was nominated for an Academy Award for Best Actress for her role as Cline.
Cline was also portrayed in television films. In 1995, a film about the life and career of Cline's friend Dottie West debuted on CBS titled, Big Dreams and Broken Hearts: The Dottie West Story. It included several scenes that showcased West's friendship with Cline. Actress Tere Myers played her in the television movie. Deborah Wilker of the Sun-Sentinel called her performance "terrific" and authentic.
Lifetime aired an original television film Patsy & Loretta in October 2019 on the network. It chronicles Cline's friendship with Loretta Lynn. Cline is portrayed by Megan Hilty and Lynn by Jessie Mueller. The film is directed by the Academy Award-winning screenwriter Callie Khouri. The trailer for the movie was released in July 2019. Patsy & Loretta was filmed on location in Nashville, Tennessee and is co-produced by Lynn's daughter and Cline's daughter, Julie Fudge.
There have been several documentaries made about Cline's life and career. The first was a 1989 documentary entitled The Real Patsy Cline which featured interviews with friends and fellow artists. This included Carl Perkins and Willie Nelson. Another documentary was filmed in 1994 entitled Remembering Patsy. The show was hosted by country artist Michelle Wright, who read letters Cline wrote to friends and family. It included interviews with several artists such as Roy Clark, George Jones and Trisha Yearwood. Both documentaries were produced by Cline's widower Charlie Dick. In March 2017, PBS released a documentary on Cline as part of their American Masters series. The film was narrated by Rosanne Cash and featured interviews with fans of Cline. These interviews included Beverly D'Angelo and Reba McEntire. It also included rare performances of songs such as "Three Cigarettes (In an Ashtray)" and "Walkin' After Midnight".
Plays and musicals
Cline's life and career has also been re-created in the theater sector. In 1988, the show Always...Patsy Cline premiered. The show was created by Ted Swindley who derived it from a friendship Cline had with Texas resident Louise Seger. The pair met while Cline was performing at the Esquire Ballroom in Houston, Texas. Seger brought Cline home following the show and they spent the night together. The pair would remain in contact through letters before Cline's death. Much of the script relied from letters exchanged between the two during the course of several years. Seger acts as the show's narrator and revisits memories she shared with Cline through their letter exchanges. Among the show's original performers was Mandy Barnett, who debuted the show at the Ryman Auditorium in 1994. Barnett would go on to have a music and performing career. A second musical was later released in 1991 titled A Closer Walk with Patsy Cline. The show was written by Dean Regan and has been called a "musical retelling" of Cline's career.
Artistry
Influences
Cline was influenced by various music artists. Among her earliest influences were pop singers of the 1940s and 1950s. These included Kay Starr, Helen Morgan, Patti Page, and Kate Smith. Patti Page recollected that Cline's husband said to her, "I just wish Patsy could have met you because she just adored you and listened to you all the time and wanted to be like you." Among her primary influences was Kay Starr, of whom Cline was a "fervent devotee" according to The Washington Post. Jack Hurst of the Chicago Tribune remarked that "Her rich, powerful voice, obviously influenced by that of pop's Kay Starr, has continued and perhaps even grown in popularity over the decades." Cline was also attracted to country music radio programs, notably the Grand Ole Opry. According to Mary Bufwack and Robert Oermann, Cline became "obsessed" with the program at a young age. Cline's mother Hilda Hensley commented on her daughter's admiration, "I know she never wanted anything so badly as to be a star on the Grand Ole Opry..." Among performers from the program she admired was Patsy Montana. Cline was also influenced by other types of performers including early rockabilly artist Charline Arthur.
Voice and style
Cline possessed a contralto voice. Time magazine writer Richard Corliss called her voice "bold". Her voice has also been praised for its display of emotion. Kurt Wolff called it one of the most "emotionally expressive voices in modern country music". Tony Gabrielle of the Daily Press wrote that Cline had "a voice of tremendous emotional power." Cline was at times taken by her own emotion. Husband Charlie Dick recounted that Cline's producer Owen Bradley told him to leave a recording session because she was very emotional and he didn't want to disturb the mood. Cline was once quoted in describing the emotion she felt, saying, "Oh Lord, I sing just like I hurt inside."
During her early career, Cline recorded in styles such as gospel, rockabilly, and honky-tonk. These styles she cut for Four Star Records have been considered below the quality of her later work for Decca Records. Steve Leggett of Allmusic commented, Her recordings prior to 1960, though, were something else again, and with the exception of 1956's "Walkin' After Midnight" and perhaps one or two other songs, she seemed reined in and stifled as a singer, even though she was working with the same producer, Owen Bradley, who was to produce her 1960s successes. Oh the difference a song makes, because in the end the material she recorded between 1955 and 1960 – all of which is collected on these two discs – was simply too weak for Cline to turn into anything resembling gold, even with her obvious vocal skills.
Cline's style has been largely associated with the Nashville Sound, a sub-genre of country music that linked traditional lyrics with orchestrated pop music styles. This new sound helped many of her singles to crossover onto the Billboard Hot 100 and gain a larger audience that did not always hear country music. Her producer Owen Bradley built this sound onto her Decca recordings, sensing a potential in her voice that went beyond traditional country music. At first, she resisted the pop-sounding style, but was ultimately convinced to record in this new style. Stephen M. Desuner of Pitchfork explained that Cline has been an identifiable factor with the Nashville Sound: "She essentially rewrote their songs simply by singing them, elevating their words and wringing every one of their rhymes for maximum dramatic potential." Mark Deming of Allmusic commented, "Cline and Bradley didn't invent "countrypolitan," but precious few artists managed to meld the sophistication of pop and the emotional honesty of country as brilliantly as this music accomplishes with seemingly effortless grace, and these songs still sound fresh and brilliantly crafted decades after the fact."
Image
Cline's public image changed during the course of her career. She began her career wearing cowgirl dresses and hats designed by her mother. However, as her music crossed over into pop, she began wearing sequined gowns and cocktail dresses. While she would often wear cowgirl costumes for live performances, she would also wear evening dresses for television and metropolitan performances. For her 1957 performance on Arthur Godfrey's Talent Scouts, the show's producer insisted that Cline wear an evening dress instead of the fringed cowgirl attire she had intended to wear. Her 1962 engagement at the Merri-Mint Theatre in Las Vegas represented this particular image shift. For one of her performances, Cline wore a sequined cocktail dress designed by her mother.
Cline has also been seen as a pioneer for women in country music. She has been cited as an inspiration by many performers in diverse styles of music. Kurt Wolff of Country Music: The Rough Guide said that Cline had an "aggression" and "boisterous attitude" that gained her the respect of her male counterparts. Wolff explained, "She swaggered her way past stereotypes and other forces of resistance, showing the men in charge – and the public in general – that women were more than capable of singing about such hard subjects as divorce and drinking as well as love and understanding. Sean O'Hagan of The Guardian commented that along with Minnie Pearl, Jean Shepard and Kitty Wells, Cline helped prove that country music was not "macho" and that "strong women" could have a "strong voice". In 2013, The Washington Post wrote, "she was what I call a pre-feminist woman. She didn't open doors; she kicked them down." Mary Bufwack and Robert K. Oermann wrote in 2003 that Cline "transformed what it meant to be a female country star".
Legacy
Cline has been cited in both country and pop music as of one of the greatest vocalists of all-time. Her voice has also been called "haunting", "powerful", and "emotional". Cline's emotional expression and delivery of lyrics helped influence various musical genres and artists. With the support of producer Owen Bradley, Cline has been said to "help define" the Nashville Sound style of country music. While the subgenre has received mixed opinions, it has also been said to be a significant part of country music's "authenticity", with Cline being the center focal point of the subgenre. Other artists have noted her impact, including LeAnn Rimes who stated, "I remember my dad telling me to listen to the way she told a story... I remember feeling more emotion when she sang than anyone else I had ever heard." Lucinda Williams commented on Cline's vocal talent in helping define her legacy, stating, "Even though her style is considered country, her delivery is more like a classic pop singer... That's what set her apart from Loretta Lynn or Tammy Wynette. You'd almost think she was classically trained."
Cline has been a major influence on various music artists including Reba McEntire, Loretta Lynn, LeAnn Rimes, k.d. lang, Linda Ronstadt, Trisha Yearwood, Sara Evans, Dottie West, Kacey Musgraves, Margo Price, Cyndi Lauper, Trixie Mattel and Brandi Carlile. Dottie West (also a close friend of Cline's) spoke about her influence on her own career, "I think I was most influenced by Patsy Cline, she said things for people. There was so much feeling in there. In fact, she told me, 'Hoss, if you can't do it with feeling, don't'". In 2019, Sara Evans discussed how Cline has been an influence since she was a young girl, "I learned everything I could learn about her. I tried to mimic her singing to the ‘t’. We grew up singing in bars — my brothers, sisters and I — from the time I was really little. So I started covering every Patsy Cline song. Then when I first got my record deal I came to Winchester to visit a radio station to try to get them to play my song Three Chords and the Truth."
In 1973, Cline was inducted into the Country Music Hall of Fame. With the induction, she became the first solo female artist to be included. In 1977, Cline's friend and mentee Loretta Lynn released a tribute album entitled I Remember Patsy. The record contained covers of Cline's songs, including "Back in Baby's Arms" and "Crazy". The album's lead single was "She's Got You", which would reach the number 1 spot on the Billboard country chart in 1977. In 1995, Cline received a Grammy Lifetime Achievement Award for her legacy and career. Additionally, her hits "I Fall to Pieces" and "Crazy" received inductions into the Grammy Hall of Fame.
In 1993, Cline was included on United States postal stamps as part of their "Legends" series. Other country artists that were included on stamp series were The Carter Family, Hank Williams, and Bob Wills. The stamps were dedicated in an official ceremony at the Grand Ole Opry by Postmaster General Marvin Runyon. In August 1999, Cline received a star on the Hollywood Walk of Fame. The ceremony was attended by her widower Charlie Dick and daughter Julie Fudge. During the 1990s, two of her songs were voted among the "Greatest Juke Box Hits of All-Time". "Crazy" was voted as the number 1 greatest, along with "I Fall to Pieces" ranking at number 17.
Since the late 1990s, she received additional rankings and honors. In 1999, Cline was ranked at number 11 among VH1's list of the "100 Greatest Women of Rock and Roll". In 2003, she was included by Country Music Television on their list of the "40 Greatest Women of Country Music". In 2010, Cline ranked at number 46 on Rolling Stones list of the "100 Greatest Singers of All-Time". The magazine would rank her on their 2017 list of the "100 Greatest Country Artists of All-Time", where she placed at number 12.
Forty years after her death, MCA Nashville released a tribute album entitled Remembering Patsy Cline (2003). A television special also followed around the same time. The album consisted of cover versions of songs taken from Cline's 1967 greatest hits album. It included songs covered by country artists such as Terri Clark and Martina McBride. It also featured artists from other genres such as Michelle Branch, Diana Krall and Patti Griffin.
Cline's hometown of Winchester, Virginia has helped honor her legacy and career. In 1987, the local government approved the placing of markers within the town denoting it as the birthplace of Cline. The same year, a bell tower was erected in her burial location at Shenandoah Memorial Park. The bell tower cost thirty five thousand dollars and was partially funded by Cline's friends Jan Howard and Loretta Lynn. In 2005, Cline's childhood home was given an official on-site marker and included on the National Register of Historic Places. With the development of an organization entitled Celebrating Patsy Cline Inc., renovations began on Cline's childhood home. In August 2011, the Patsy Cline House officially opened as a historic home for tours. In almost three months, about three thousand people visited the home. The home was restored to the era in which Cline lived in it during the 1950s with her mother and siblings. Replicas of furniture and stage clothes are also included. Daughter Julie Fudge spoke of the house in 2011, stating, “I think when you go into the house, you will kind of feel like this is a snapshot of what it would have been like to visit when Mom lived there.”
In 2017, the Patsy Cline Museum opened in Nashville, Tennessee, located at 119 3rd Ave. S., on the second floor in the same building as the Johnny Cash Museum. The museum includes Cline's actual stage costumes, as well as her original scrapbook and record albums. The Patsy Cline Museum features other artifacts, such as the soda fountain machine from Gaunt's Drug Store, where Cline worked as a teenager. Original letters that Cline wrote to friends are also included as part of the museum.
Discography
Studio albums
1957: Patsy Cline
1961: Patsy Cline Showcase
1962: Sentimentally Yours
Posthumous studio albums
1964: A Portrait of Patsy Cline
1964: That's How a Heartache Begins
1980: Always
References
Footnotes
Books
Further reading
Bego, Mark. I Fall to Pieces: The Music and the Life of Patsy Cline. Adams Media Corporation.
Hazen, Cindy and Mike Freeman. Love Always, Patsy. The Berkley Publishing Group.
Jones, Margaret (1998). "Patsy Cline". In The Encyclopedia of Country Music. Paul Kingsbury, Editor. New York: Oxford University Press. pp. 98–9.
Gomery, Douglas Patsy Cline: The Making of an Icon. Trafford Publishing.
External links
Celebrating Patsy Cline an official organization sponsoring several projects
Patsy Cline Home and Museum located in Winchester, Virginia
Patsy Cline recordings at the Discography of American Historical Recordings.
The Patsy Cline Plane Crash
1932 births
1963 deaths
20th-century American composers
20th-century American singers
20th-century American women singers
20th-century women composers
Accidental deaths in Tennessee
American contraltos
American country singer-songwriters
American women composers
American women country singers
American women pop singers
American women singer-songwriters
American rockabilly musicians
Country Music Hall of Fame inductees
Country musicians from Tennessee
Country musicians from Virginia
Cowgirl Hall of Fame inductees
Deaths in Tennessee
Decca Records artists
Four Star Records artists
Grammy Lifetime Achievement Award winners
Grand Ole Opry members
People from Goodlettsville, Tennessee
People from Winchester, Virginia
Rock and roll musicians
Singer-songwriters from Virginia
Torch singers
Traditional pop music singers
Victims of aviation accidents or incidents in 1963
Victims of aviation accidents or incidents in the United States
Musicians killed in aviation accidents or incidents
Singer-songwriters from Tennessee
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[
"Martnália Mendonça Ferreira, known as Mart'nália (Rio de Janeiro, September 7, 1965) is a Brazilian singer, songwriter, percussionist and actress.\n\nCareer\nDaughter of sambista Martinho da Vila and singer Analia Mendonca (her name is a blend of parents' names), the singer was born in Vila Isabel, North Zone of Rio de Janeiro. Since childhood she was surrounded by music.\n\nShe began her professional career at age 16, doing backing vocals for her father beside her sister, Analimar. In the mid 1990s, she began making presentations on the circuit of bars, nightclubs and theaters in Rio de Janeiro, which culminated in the release of her samba album Minha cara. Since 1994, she joined the group Batacotô, whose percussionist was Ivan Lins.\n\nMart'nália had the privilege of becoming sponsored by big names of Brazilian popular music thanks to her father. Caetano Veloso was the artistic director of her Pé de meu samba and composed the title track, and Maria Bethânia produced Menino do Rio From these two albums, Mart'nália began to attract greater media attention and to have shows throughout the country, paving the way for international tours through Europe and Africa.\n\nIn 2015, her album Em Samba! Ao vivo was nominated for the 16th Latin Grammy Awards in the Best Samba/Pagode Album category. In 2017, another album of hers, Misturado, was nominated in the same category of the 2017 edition, and this time it won. In 2019, she was nominated for a third time in that category, this time for the album Mart'nalia Canta Vinicius de Moraes.\n\nDiscography\n\nNotes\n\n20th-century Brazilian women singers\n21st-century Brazilian women singers\n21st-century Brazilian singers\nLiving people\n1965 births\nLGBT singers from Brazil\nMusicians from Rio de Janeiro (city)\nLatin Grammy Award winners\nWomen in Latin music\nLGBT Latin musicians",
"The Sans Souci was a nightclub within a natural environment and located in the outskirts seven miles outside of Havana. It had a restaurant and floor shows nightly that attracted a great number of tourists. Its greatest profits came from an amusement arcade operating located in a small room next door to the Sans Souci that was not advertised since there was no official license for its exploitation.\n\nThe 1956 the Cabaret Yearbook describes the venue as \"Usually run by Americans, Sans Souci Cabaret is located in a Spanish-type villa. Stage, dance floor and tables are under the moonlight. Shows, like at the other Big Three nightclubs, are production numbers with name acts. Good-looking U.S. showgirls are an added attraction. Sans Souci, as well as Tropicana and Montmartre, has a gambling room with roulette, craps and chemin de fer, etc. Located even further out than Tropicana, Sans Souci usually opens only for the winter season.\"\n\nRemodel\n\nRemodeling of the Sans Souci Cabaret started in 1955 at an approximate cost of one million dollars. The management of Norman “Roughneck” Rothman, a mafia associate who was married to the Cuban Olga Chaviano, a star at the Sans Souci between 1953 and 1955, preceded the management of William G. Buschoff, known as Lefty Clark, from Miami Beach; one of the men of Santo Trafficante Jr.. A report by the Department of the Treasury written in Havana considered Buschoff a suspect of drug trafficking; Santo Trafficante was also a suspect.\n\nRazzle game\n\nSometime in 1952 the venue installed a razzle game, a scam that had sometimes been presented as a gambling game on carnival midways. The player throws a number of marbles onto a grid of holes, and the numbers of those holes award points which it is suggested can be converted into prizes. In reality, it is almost impossible for a player to win enough points for the prize, but this is concealed by the game's unintuitive use of probability, and deceptive behavior on the part of the operator. Jay Mallin records the game being played with eight dice instead of marbles and holes, in Cuban nightclubs and casinos in the 1950s.\n\nSee also\nHavana Plan Piloto\n\nHavana Conference\n\nNotes\n\nReferences\n\nMunicipalities of Havana\nHistoric districts\nBuildings and structures in Havana\nNightclubs\nCulture in Havana\nTourist attractions in Havana\nNightclubs in Havana\nDefunct nightclubs"
] |
[
"Patsy Cline",
"Early years",
"Was she musical from childhood?",
"She was the eldest child of seamstress Hilda Virginia (nee Patterson, 1916-1998) and blacksmith Samuel Lawrence Hensley (1889-1956).",
"When did she discover she had talent for singing?",
"When Patsy was 13,",
"When did she start singing professionally?",
"she asked WINC (AM) disc jockey Jimmy McCoy if she could sing on his show. Her performance in 1947 was well received",
"Did that lead to other opportunities?",
"This led to appearances at local nightclubs wearing fringed Western outfits that her mother made from Patsy's designs.",
"What city or town was that in?",
"Cline performed in variety and talent shows in the Winchester and Tri-State areas,",
"What state in Winchester in?",
"I don't know.",
"Did she attract the attention of management when she was playing in those nightclubs?",
"I don't know."
] |
C_eb67cd934c274c28837e9c932e60a6af_1
|
Where did she attend school?
| 8 |
Where did Patsy Cline attend school?
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Patsy Cline
|
Patsy Cline was born Virginia Patterson Hensley on September 8, 1932 in Winchester, Virginia, in the city's Memorial Hospital. She was the eldest child of seamstress Hilda Virginia (nee Patterson, 1916-1998) and blacksmith Samuel Lawrence Hensley (1889-1956). She had a brother Samuel Jr. (1939-2004) and a sister Sylvia. The family moved often before finally settling in Winchester, Virginia when Patsy was 16. Sam Hensley deserted his family in 1947, but the children's home was reportedly happy nonetheless. When Patsy was 13, she was hospitalized with a throat infection and rheumatic fever. She later said, "The fever affected my throat and when I recovered I had this booming voice like Kate Smith." Cline enrolled at John Handley High School but never attended classes. To help her mother support their family, she worked as a soda jerk at Gaunt's Drug Store and a waitress at the Triangle Diner. She watched performers through the window at the local radio station, and she asked WINC (AM) disc jockey Jimmy McCoy if she could sing on his show. Her performance in 1947 was well received and she was asked back. This led to appearances at local nightclubs wearing fringed Western outfits that her mother made from Patsy's designs. Cline performed in variety and talent shows in the Winchester and Tri-State areas, and she gained a large following through the shows and local radio appearances. Jimmy Dean was already a country star in 1954, and she became a regular with him on Connie B. Gay's Town and Country Jamboree radio show on WAVA (AM) in Arlington County, Virginia. CANNOTANSWER
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Cline enrolled at John Handley High School but never attended classes.
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Patsy Cline (born Virginia Patterson Hensley; September 8, 1932 – March 5, 1963) was an American singer. She is considered one of the most influential vocalists of the 20th century and was one of the first country music artists to successfully cross over into pop music. Cline had several major hits during her eight-year recording career, including two number-one hits on the Billboard Hot Country and Western Sides chart.
Cline's first professional performances began at the local WINC radio station when she was fifteen. In the early 1950s, Cline began appearing in a local band led by performer Bill Peer. Various local appearances led to featured performances on Connie B. Gay's Town and Country television broadcasts. It also led to the signing of her first recording contract with the Four Star label in 1954. She had minor success with her earliest Four Star singles including "A Church, a Courtroom, Then Goodbye" (1955) and "I've Loved and Lost Again" (1956). In 1957 however, Cline made her first national television appearance on Arthur Godfrey's Talent Scouts. After performing "Walkin' After Midnight", the single would become her first major hit on both the country and pop charts.
Cline's further singles with Four Star Records were unsuccessful, although she continued performing and recording. After marrying in 1957 and giving birth in 1958, she moved to Nashville, Tennessee, to further her career. Working with new manager Randy Hughes, Cline would become a member of the Grand Ole Opry and then move to Decca Records in 1960. Under the direction of producer Owen Bradley, her musical sound shifted and she achieved consistent success. The 1961 single "I Fall to Pieces" would become her first to top the Billboard country chart. As the song became a hit, Cline was severely injured in an automobile accident, which caused her to spend a month in the hospital. After she recovered, her next single release "Crazy" would also become a major hit.
Between 1962 and 1963, Cline had hits with "She's Got You", "When I Get Through with You", "So Wrong" and "Leavin' on Your Mind". She also toured and headlined shows with more frequency. In March 1963, Cline was killed in a plane crash along with country performers Cowboy Copas, Hawkshaw Hawkins and manager Randy Hughes, during a flight from Kansas City, Kansas back to Nashville.
Since her death, Cline has been cited as one of the most celebrated, respected and influential performers of the 20th century. Her music has influenced performers of various styles and genres. She has also been seen as a forerunner for women in country music, being among the first to sell records and headline concerts. In 1973, she became the first female performer to be inducted into the Country Music Hall of Fame. In the 1980s, Cline's posthumous successes continued in the mass media. She was portrayed twice in major motion pictures, including the 1985 biopic Sweet Dreams starring Jessica Lange. Several documentaries and stage shows were released during this time, including the 1988 musical Always...Patsy Cline. A 1991 box set of her recordings was issued that received critical acclaim. Her greatest hits album sold over 10 million copies in 2005. In 2011, Cline's childhood home was restored as a museum for visitors and fans to tour. In 2017, Cline’s Dream Home in Nashville, TN was placed on the Tennessee Historical Markers List by the Patsy Cline Fan Home Owners, Steven Shirey and Thomas Corritore.
Early life
Cline was born Virginia Patterson Hensley in Winchester, Virginia on September 8, 1932, to Hilda Virginia (née Patterson; 1916–1998) and Samuel Lawerence Hensley (1889–1956). Mrs. Hensley was only 16 years old at the time of Cline's birth. Sam Hensley had been married before; Cline had two half siblings (aged 12 and 15) that lived with a foster family because of their mother's death years before. After Cline, Hilda Hensley would also have Samuel Jr. (called John) and Sylvia Mae. Besides being called "Virginia" in her childhood, Cline was also referred to as "Ginny". She temporarily lived with her mother's family in Gore, Virginia before relocating many times throughout the state. In her childhood, the family relocated where Samuel Hensley, a blacksmith, could find employment, including Elkton, Staunton, and Norfolk. When the family had little money, she would find work. This included an Elkton poultry factory, where her job was to pluck and cut chickens. The family moved often before finally settling in Winchester, Virginia on South Kent Street. Cline would later report that her father sexually abused her. When confiding about the abuse to friend Loretta Lynn, Cline told her, "take this to your grave". Hilda Hensley would later report details of the abuse to producers of Cline's 1985 biopic Sweet Dreams.
At age 13, Cline was hospitalized with a throat infection and rheumatic fever. Speaking of the incident in 1957 she said, "I developed a terrible throat infection and my heart even stopped beating. The doctor put me in an oxygen tent. You might say it was my return to the living after several days that launched me as a singer. The fever affected my throat and when I recovered I had this booming voice like Kate Smith's." It was during this time she developed an interest in singing. She started performing with her mother in the local Baptist choir. Mother and daughter also performed duets at church social events. She also taught herself how to play the piano.
With the new performing opportunities, Cline's interest in singing only grew further and at the age of 14, she told her mother that she was going to audition for the local radio station. Her first radio performances began at WINC in the Winchester area. According to WINC's radio disc jockey Joltin' Jim McCoy, Cline appeared in the station's waiting room one day and asked to audition. McCoy was impressed by her audition performance, reportedly saying, "Well, if you've got nerve enough to stand before that mic and sing over the air live, I've got nerve enough to let you." While also performing on the radio, Cline also started appearing in talent contests and created a nightclub cabaret act similar to performer Helen Morgan.
Cline's mother and father had marital conflicts during her childhood and by 1947, her father deserted the family. Author Ellis Nassour of the biography Honky Tonk Angel: An Intimate Story of Patsy Cline reported Cline had a "beautiful relationship" with her mother. In his interviews with Hilda Hensley, he quoted Cline's mother in saying they "were more like sisters" than parent and child. Upon entering the ninth grade, Cline enrolled at John Handley High School in Winchester, Virginia. However, the family had trouble sustaining an income after her father's desertion. Therefore, Cline dropped out of high school to help support the family. She began working at Gaunt's Drug Store in the Winchester area as a clerk and soda jerk.
Career
1948–1953: Early career
At age 15, Cline wrote a letter to the Grand Ole Opry asking for an audition. She told local photographer Ralph Grubbs about the letter, "A friend thinks I'm crazy to send it. What do you think?" Grubbs encouraged Cline to send it. Several weeks later, she received a return letter from the Opry asking for pictures and recordings. At the same time, Gospel performer Wally Fowler headlined a concert in her hometown. Cline convinced concert employees to let her backstage where she asked Fowler for an audition. Following a successful audition, Cline's family received a call asking for her to audition for the Opry. She traveled with her mother, two siblings, and a family friend on an eight-hour journey to Nashville, Tennessee. With limited finances, they drove overnight and slept in a Nashville park the following morning. Cline auditioned for Opry performer Moon Mullican the same day. The audition was well-received and Cline expected to hear from the Opry the same day. However, she never received news and the family returned to Virginia.
By the early 1950s, Cline continued performing around the local area. In 1952, she asked to audition for local country bandleader Bill Peer. Following her audition, she began performing regularly as a member of Bill Peer's Melody Boys and Girls. The pair's relationship turned romantic, continuing an affair for several years. Nonetheless, the pair remained married to their spouses. Peer's group played primarily at the Moose Lodge in Brunswick, Maryland where she would meet her first husband, Gerald Cline. Peer encouraged her to have a more appropriate stage name. She changed her first name from Virginia to Patsy (taken from her middle name "Patterson"). She kept her new last name, Cline. Ultimately, she became professionally known as "Patsy Cline".
In August 1953, Cline was a contestant in a local country music contest. She won 100 dollars and the opportunity to perform as a regular on Connie B. Gay's Town and Country Time. The show included country stars Jimmy Dean, Roy Clark, George Hamilton IV and Billy Grammer, and was filmed in Washington D.C. and Arlington, Virginia. She was not officially added to the program's television shows until October 1955. Cline's television performances received critical acclaim. The Washington Star magazine praised her stage presence, commenting, "She creates the moods through movement of her hands and body and by the lilt of her voice, reaching way down deep in her soul to bring forth the melody. Most female country music vocalists stand motionless, sing with monotonous high-pitched nasal twang. Patsy's come up with a throaty style loaded with motion and E-motion."
1954–1960: Four Star Records
In 1954, Bill Peer created and distributed a series of demonstration tapes with Cline's voice on it. A tape was brought to the attention of Bill McCall, president of Four Star Records. On September 30, 1954, she signed a two-year recording contract with the label alongside Peer and her husband Gerald Cline. The original contract allowed Four Star to receive most of the money for the songs she recorded. Therefore, Cline received little of the royalties from the label, totaling out to 2.34 percent on her recording contract. Her first recording session took place in Nashville, Tennessee on January 5, 1955. Songs for the session were handpicked by McCall and Paul Cohen. Four Star leased the recordings to the larger Decca Records. For those reasons Owen Bradley was chosen as the session's producer, a professional relationship that would continue into the 1960s. Her first single release was 1955's "A Church, a Courtroom, Then Goodbye". Although Cline promoted it with an appearance on the Grand Ole Opry the song was not successful.
Cline recorded a variety of musical styles while recording for Four Star. This included genres such as gospel, rockabilly, traditional country and pop. Writers and music journalists have had mixed beliefs on Cline's Four Star material. Robert Oermann and Mary Bufwack of Finding Her Voice: Women in Country Music called the label's choice of material "mediocre". They also commented that Cline seemed to have "groped for her own sound on the label". Kurt Wolff of Country Music the Rough Guide commented that the music was "sturdy enough, but they only hinted at the potential that lurked inside her. Richie Unterberger of Allmusic claimed it was Cline's voice that made the Four Star material less appealing: "Circumstances were not wholly to blame for Cline's commercial failures. She would have never made it as a rockabilly singer, lacking the conviction of Wanda Jackson or the spunk of Brenda Lee. In fact, in comparison with her best work, she sounds rather stiff and ill-at-ease on most of her early singles."
Between 1955 and 1956, Cline's four singles for Four Star failed to become hits. However, she continued performing regionally, including on the Town and Country Jamboree. In 1956, she appeared on ABC's Country Music Jubilee, Ozark Jubilee. It was at one of her local performances that she met her second husband, Charlie Dick. In 1956, Cline received a call to perform on Arthur Godfrey's Talent Scouts, a national television show she had auditioned for several months prior. She accepted the offer, using her mother Hilda Hensley as her talent scout for the show. According to the show's rules, talent scouts could not be family members. For those reasons, Cline's mother lied in order to appear on the show. When Arthur Godfrey asked if Hensley had known Cline her entire life, she replied, "Yes, just about!"
Cline and Mrs. Hensley flew into LaGuardia Airport in New York City on January 18, 1957. She made her debut appearance on the program on January 21. The day of the show, she met with the show's producer Janette Davis. Cline had chosen "A Poor Man's Roses (Or a Rich Man's Gold)" to perform on the program, but Davis preferred another song she had recorded, "Walkin' After Midnight". Cline initially refused to perform it, but ultimately agreed to it. Davis also suggested Cline wear a cocktail dress instead of the cowgirl outfit created by her mother. She performed "Walkin' After Midnight" and won the program's contest that night. The song had not yet been released as a single. In order to keep up with public demand, Decca Records rush-released the song as a single on February 11. The song ultimately became Cline's breakthrough hit, peaking at number 2 on the Billboard Hot Country and Western Sides chart. The song also reached number 12 on the Billboard pop music chart. The song has since been considered a classic in country music since its release.
Music critics and writers have positively praised "Walkin' After Midnight". Mary Bufwack and Robert Oermann called the song "bluesy". Richie Unterberger noted "it's well-suited for the almost bemused aura of loneliness of the lyric." The success of "Walkin' After Midnight" brought Cline numerous appearances on shows and major networks. She continued working for Arthur Godfrey over the next several months. She also appeared on the Grand Ole Opry in February and the television program Western Ranch Party in March. The money she had earned from her numerous engagements totaled out to ten thousand dollars. Cline gave all the money to her mother, which she used to the pay the mortgage on her Winchester house. In August 1957, her debut studio album was issued via Decca Records.
Cline's follow-up singles to "Walkin' After Midnight" did not yield any success. This was partially due to the quality of material chosen for her to record. Cline was dissatisfied with the limited success following "Walkin' After Midnight". Bradley recounted how she often came to him saying, "Hoss, can't you do something? I feel like a prisoner." Around the same time, Cline was fired from her regular slot on Town and Country Jamboree. According to Connie B. Gay, she ran late for shows and "showed up with liquor on her breath". In September 1957, Cline married Charlie Dick and he was soon sent to Fort Bragg, North Carolina on a military assignment. Cline also gave birth to her first daughter Julie. In hopes of restarting her career, Cline and her family moved to Nashville, Tennessee.
1960–1961: New beginnings and car accident
Cline's professional decisions yielded more positive results by the early 1960s. Upon moving to Nashville, she signed a management deal with Randy Hughes. She originally wished to work with Hubert Long, however, he was busy managing other artists. Instead, she turned her attention to Hughes. With the help of Hughes, she began working steadier jobs. He organized fifty dollar bookings and got her multiple performances on the Grand Ole Opry. In January 1960, Cline officially became a member of the Opry. When she asked general manager Ott Devine about a membership he replied, "Patsy, if that's all you want, you're on the Opry." Also in January 1960, Cline made her final recording sessions set forth in her contract with Four Star Records. Later that year, her final singles with the label were released: "Lovesick Blues" and "Crazy Dreams". Leaving Four Star, Cline officially signed with Decca Records in late 1960, working exclusively under Bradley's direction. Insisting on receiving an advance, she received $1,000 from Bradley once she began at the label.
Her first release under Decca was 1961's "I Fall to Pieces". The song was written by newly established Nashville songwriters Hank Cochran and Harlan Howard. "I Fall to Pieces" had first been turned down by Roy Drusky and Brenda Lee before Cline cut it in November 1960. At the recording session, she worried about the song's production, particularly the background vocals performed by The Jordanaires. After much arguing between both Cline and Bradley, they negotiated that she would record "I Fall to Pieces" (a song Bradley favored) and "Lovin' in Vain" (a song she favored). Released as a single in January 1961, "I Fall to Pieces" attracted little attention upon its initial issue. In April, the song debuted on the Hot Country and Western Sides chart. By August 7, the song became her first to top the country chart. Additionally, "I Fall to Pieces" crossed over onto the Billboard Pop chart, peaking at number 12.
On June 14, 1961, Cline and her brother Sam Hensley, Jr. were involved in an automobile accident. Cline had brought her mother, sister and brother to see her new Nashville home the day before. On the day of the accident, Cline and her brother went shopping to buy material for her mother to make clothing. Upon driving home, their car was struck head-on by another vehicle. The impact threw her directly into the car windshield, causing extensive facial injuries. Among her injuries, Cline suffered a broken wrist, dislocated hip and a large cut across her forehead, barely missing her eyes. Friend Dottie West heard about the accident via the radio and rushed to the scene, helping to remove pieces of broken glass from Cline's hair. When first responders arrived, Cline insisted the driver in the other vehicle be treated first. Two of the three passengers riding in the car that struck Cline died after arriving at the hospital. When she was brought to the hospital, her injuries were life-threatening and she was not expected to live. She underwent surgery and survived. According to her husband Charlie Dick, upon waking up she said to him, "Jesus was here, Charlie. Don't worry. He took my hand and told me, 'No, not now. I have other things for you to do.'" She spent a month recovering in the hospital.
1961–1963: Career peak
Cline returned to her career six weeks after her 1961 car accident. Her first public appearance was on the Grand Ole Opry where she assured fans she would continue performing. She said to the audience that night, "You're wonderful. I'll tell you one thing: the greatest gift, I think, that you folks coulda given me was the encouragement that you gave me. Right at the very time I needed you the most, you came through with the flying-est colors. And I just want to say you'll just never know how happy you made this ol' country gal." Cline's follow-up single to "I Fall to Pieces" was the song "Crazy". It was written by Willie Nelson, whose version of the song was first heard by Dick. When Dick brought the song to Cline she did not like it. When Dick encouraged her to record "Crazy", Cline replied, "I don't care what you say. I don't like it and I ain't gonna record it. And that's that." Bradley liked the song and set the date for its recording for August 17. When Cline got to Bradley's studio, he convinced her to record it. She listened to Nelson's version of "Crazy" and decided she was going to perform it differently. Nelson's version included a spoken section that Cline removed. She cut additional material on August 17 and when she got to "Crazy", it became difficult to perform. Because Cline was still recovering from the accident, performing the song's high notes caused rib pain. Giving her time to rest, Bradley sent her home while musicians laid down the track without her. A week later she returned and recorded her vocal in a single take.
"Crazy" was released as a single in October 1961, debuting on the Billboard country charts in November. It would peak at number 2 there and number 9 on the same publication's pop charts. "Crazy" would also become Cline's biggest pop hit. "Crazy" has since been called a country music standard. Cline's vocal performance and the song's production have received positive praise over time. Cub Koda of AllMusic noted the "ache" in her voice that makes the song stand out: "Cline's reading of the lyric is filled with an aching world weariness that transforms the tune into one of the first big crossover hits without even trying hard." Country music historian Paul Kingsbury also highlighted her "ache", saying in 2007, "Cline's hit recording swings with such velvety finesse, and her voice throbs and aches so exquisitely, that the entire production sounds absolutely effortless." Jhoni Jackon of Paste Magazine called the recording "iconic", highlighting the "pain" Cline had in her vocal technique. Her second studio album Patsy Cline Showcase was released in late 1961. The album featured both major hits from that year and re-recorded versions of "Walkin' After Midnight" and "A Poor Man's Roses (Or a Rich Man's Gold)".
"Crazy" and Cline's further Decca recordings have received critical praise. Mary Bufwack and Robert Oermann noted "Her thrilling voice invariably invested these with new depth. Patsy's dramatic volume control, stretched-note effects, sobs, pauses and unique ways of holding back, then bursting into full-throated phrases also breathed new life into country chestnuts like "San Antonio Rose", "Blue Moon of Kentucky" and "Half as Much". Richie Unterberger of AllMusic commented that her voice "sounded richer, more confident, and more mature, with ageless wise and vulnerable qualities that have enabled her records to maintain their appeal with subsequent generations." Kurt Wolff of Country Music the Rough Guide reported that Owen Bradley recognized potential in Cline's and once he gained studio control, he smoothed arrangements and "refine her voice into an instrument of torch-singing glory."
In November 1961, she was invited to perform as part of the Grand Ole Opry's show at Carnegie Hall in New York City. She was joined by Opry stars Minnie Pearl, Grandpa Jones, Jim Reeves, Bill Monroe, Marty Robbins, and Faron Young. Despite positive reviews, New York Journal-American columnist Dorothy Kilgallen commented, "everybody should get out of town because the hillbillies are coming!" The comment upset Cline and did not affect ticket sales. The Opry performance would later be sold out. By the end of year, Cline had won several major industry awards including "Favorite Female Vocalist" from Billboard Magazine and Cashbox Magazines "Most Programmed Female Artist". Also in 1961, Cline was back in the studio to record an upcoming album. Among the first songs she recorded was "She's Got You". Written by Hank Cochran, he pitched the song to Cline over the phone. Insisting to hear it in-person, Cochran brought the recording over to her house, along with a bottle of alcohol. Upon listening to it again, she liked the song and wanted to record it. Owen Bradley also liked the song and it was officially recorded on December 17, 1961. "She's Got You" became her third country-pop crossover hit by early 1962. "She's Got You" would also be her second number 1 hit on the Billboard country chart. It was also Cline's first entry in the United Kingdom singles chart, reaching number 43. The cover by Alma Cogan, one of Britain's most popular female artists of the 1950s, performed notably as well.
In 1962, Cline had three major hits with "When I Get Through with You", "So Wrong" and "Imagine That". Cline's career successes helped her become financially stable enough to purchase her first home. She bought a ranch house located Goodlettsville, Tennessee, a suburb of Nashville. The home was decorated by Cline and included a music room, several bedrooms and a large backyard. According to Dottie West, "the house was her mansion, the sign she'd arrived." Cline called it her "dream home" and often had friends over to visit. After her death, the house was sold to country artist Wilma Burgess. In the summer of 1962, manager Randy Hughes got her a role in a country music vehicle film. It also starred Dottie West, Webb Pierce and Sonny James. After arriving to film in DeLand, Florida, the producer had "ran off with the money", according to West. The movie was never made. In August, her third studio album Sentimentally Yours was released. It featured "She's Got You" as well as several country and pop standards. According to biographer Ellis Nassour, her royalties "were coming in slim" and she needed "financial security". Therefore, Randy Hughes arranged Cline to work at the Merri-Mint Theatre in Las Vegas, Nevada for 35 days. Cline would later dislike the experience. During the engagement, she developed a dry throat. She also was homesick and wanted to spend time with her children. By appearing at the engagement, Cline became the first female country artist to headline her own show in Las Vegas.
During this period Cline was said to have experienced premonitions of her own death. Dottie West, June Carter Cash, and Loretta Lynn recalled Cline telling them she felt a sense of impending doom and did not expect to live much longer. In letters, she would also describe the happiness of her new career successes. In January 1963, her next single "Leavin' on Your Mind" was released and debuted on the Billboard country chart soon after. In February, she recorded her final sessions for Decca Records. Among the songs recorded were "Sweet Dreams", "He Called Me Baby", and "Faded Love". Cline arranged for friends Jan Howard and Dottie West to come and hear the session playbacks. According to Howard, "I was in awe of Patsy. You know, afterward you're supposed to say something nice. I couldn't talk. I was dumbfounded."
Personal life
Friendships
Cline had close friendships with several country artists and performers. Her friendship with Loretta Lynn has been the subject of numerous books, songs, films and other projects. The pair first met when Lynn performed "I Fall to Pieces" on the radio shortly after Cline's 1961 car accident. Cline heard the broadcast and sent her husband to pick up Lynn so they could meet. According to Lynn, the pair became close friends "right away". Lynn later described their friendship in detail, "She taught me a lot about show business, like how to go on a stage and how to get off. She even bought me a lot of clothes...She even bought me curtains and drapes for my house because I was too broke to buy them...She was a great human being and a great friend." Lynn also noted they became so close that Cline even gave her underwear. Lynn still has the underwear in storage, saying it was "well-made".
Dottie West was another female country artist with whom Cline became friends. They first met backstage at the Grand Ole Opry. West wrote Cline a fan letter after hearing her first hit "Walkin' After Midnight". According to West, Cline "showed a genuine interest in her career" and they became close friends. The pair often spent time at their homes and worked on packaged tour dates together. West also stated Cline was a supportive friend who helped out in times of need.
Jan Howard was a third female artist with whom Cline had a close friendship. The pair first met when Cline tried starting an argument with Howard backstage at the Grand Ole Opry. She said to Howard, "You're a conceited little son of a bitch! You just go out there, do your spot, and leave without saying hello to anyone." Howard was upset and replied angrily back. Cline then laughed and said, "Slow down! Hoss, you're all right. Anybody that'll stand there and talk back to the Cline like that is all right...I can tell we're gonna be good friends!" The pair remained close for the remainder of Cline's life. Other friendships Cline had with female artists included Brenda Lee, Barbara Mandrell and pianist Del Wood. She also became friends with male country artists including Roger Miller, who helped Cline find material to record. Faron Young was another male artist whom Cline befriended from working on tour together. While on tour, the pair would spend time together, including a trip to Hawaii where the pair saw a hula show.
Family
Cline's mother Hilda Hensley continued living in Winchester, Virginia following her daughter's death. She rented out the family's childhood home on South Kent Street and lived across the street. Following Cline's death, Hensley briefly spent time raising her two grandchildren in Virginia. Hensley maintained a closet full of her daughter's stage costumes, including a sequined dress Cline wore while performing in Las Vegas in 1962. She worked as a seamstress and made many of her daughter's stage costumes. Hensley died from natural causes in 1998. Cline's father Samuel Hensley died of lung cancer in 1956. Hensley had previously deserted the family in 1947 and shortly before his death, Cline and her mother visited him at a hospital in Martinsburg, West Virginia. After discovering his current state, Cline said to her mother, "Mama, I know what-all he did, but it seems he's real sick and may not make it. In spite of everything, I want to visit him." Both of Cline's surviving siblings fought in court over their mother's estate. Because of legal fees, many of Cline's possessions were sold at auction.
Cline had two surviving children at the time of her death: Julie Simadore (born 1958) and Allen Randolph "Randy" (born 1961). Julie has been a significant factor in keeping her mother's legacy alive. She has appeared at numerous public appearances in support of her mother's music and career. Following the death of her father in 2015, she helped open a museum dedicated to Cline in Nashville, Tennessee. Julie has few memories of her mother due to Cline's death while she was young. In an interview with People Magazine, Julie discussed her mother's legacy, "I do understand her position in history, and the history of Nashville and country music...I'm still kind of amazed at it myself, because there's 'Mom' and then there's 'Patsy Cline,' and I'm actually a fan."
The present day American female blues, swing, and rock and roll singer, songwriter and record producer, Casey Hensley, is a distant relation of Cline's.
Marriages
Cline was married twice. Her first marriage was to Gerald Cline, on March 7, 1953. His family had owned a contracting and excavating company in Frederick, Maryland. According to Cline's brother Sam, he liked "flashy cars and women." The two met while she was performing with Bill Peer at the Moose Lodge in Brunswick, Maryland. According to Gerald Cline, "It might not have been love at first sight when Patsy saw me, but it was for me." Gerald Cline often took her to "one-nighters" and other concerts she performed in. Although he enjoyed her performances, he could not get used to her touring and road schedule. Patsy had told a friend during their marriage that she didn't think she "knew what love was" upon marrying Gerald. The pair began living separately by the end of 1956 and divorced in 1957.
Cline married her second husband Charlie Dick on September 15, 1957. The pair met in 1956 while Cline was performing with a local Virginia band. At the time, Dick was a linotype operator for local newspaper, The Winchester Star. According to Dick, he had asked Cline to dance and she replied, "I can't dance while I'm working, okay?" They eventually started spending time together and Cline began telling close friends about their relationship. Cline told Grand Ole Opry pianist Del Wood in 1956, "Hoss, I got some news. I met a boy my own age who's a hurricane in pants! Del, I'm in love, and this time, it's for real." The pair had children Julie and Randy together. Their relationship was considered both romantic and tempestuous. According to Robert Oermann and Mary Bufwack, Cline and Dick's marriage was "fueled by alcohol, argument, passion, jealousy, success, tears and laughter." According to biographer Ellis Nassour, the pair fought often but remained together. They had gained a reputation as "heavy drinkers", but according to Dick himself, they were not "drunks". During one particular fight, Cline had Dick arrested after they became physical with one another. Following Cline's death in 1963, Dick married country artist Jamey Ryan in 1965. The pair divorced in the early 1970s after having one child together. Dick helped with keeping Cline's legacy alive for the remainder of his own life. He assisted in producing several documentaries about Cline's career including Remembering Patsy and The Real Patsy Cline. He became involved with Hallway Productions in the 1990s and helped produce videos on other artists including Willie Nelson and The Mamas and the Papas. Dick died in 2015.
Death
On March 3, 1963, Cline performed a benefit at the Soldiers and Sailors Memorial Hall, Kansas City, Kansas, for the family of disc jockey "Cactus" Jack Call; he had died in an automobile crash a little over a month earlier. Also performing in the show were George Jones, George Riddle and The Jones Boys, Billy Walker, Dottie West, Wilma Lee and Stoney Cooper, George McCormick, the Clinch Mountain Boys as well as Cowboy Copas and Hawkshaw Hawkins. Despite having a cold, Cline gave three performances: 2:00, 5:15 and 8:15 pm. All the shows were standing-room only. For the 2 p.m. show, she wore a sky-blue tulle-laden dress; for the 5:15 show a red shocker; and for the closing show at 8 p.m., Cline wore white chiffon. Her final song was the last she had recorded the previous month, "I'll Sail My Ship Alone".
Cline, who had spent the night at the Town House Motor Hotel, was unable to fly out the day after the concert because Fairfax Airport was fogged in. West asked Patsy to ride in the car with her and husband, Bill, back to Nashville, a 16-hour drive, but Cline refused, saying, "Don't worry about me, Hoss. When it's my time to go, it's my time." On March 5, she called her mother from the motel and checked out at 12:30 p.m., going the short distance to the airport and boarding a Piper PA-24 Comanche plane, aircraft registration number N7000P. On board were Cline, Copas, Hawkins and pilot Randy Hughes.
The plane stopped once in Rogers, Arkansas to refuel and subsequently landed at Dyersburg Municipal Airport in Dyersburg, Tennessee at 5 p.m. Hawkins had accepted Billy Walker's place after Walker left on a commercial flight to take care of a stricken family member. The Dyersburg, Tennessee, airfield manager suggested that they stay the night because of high winds and inclement weather, offering them free rooms and meals. But Hughes, who was not trained in instrument flying, said "I've already come this far. We'll be there before you know it." The plane took off at 6:07 p.m.
Cline's flight crashed in heavy weather on the evening of Tuesday, March 5, 1963. Her recovered wristwatch had stopped at 6:20 p.m. The plane was found some from its Nashville destination, in a forest outside of Camden, Tennessee. Forensic examination concluded that everyone aboard had been killed instantly. Until the wreckage was discovered the following dawn and reported on the radio, friends and family had not given up hope. Endless calls tied up the local telephone exchanges to such a degree that other emergency calls had trouble getting through. The lights at the destination Cornelia Fort Airpark were kept on throughout the night, as reports of the missing plane were broadcast on radio and TV.
Early in the morning, Roger Miller and a friend went searching for survivors: "As fast as I could, I ran through the woods screaming their names—through the brush and the trees—and I came up over this little rise, oh, my God, there they were. It was ghastly. The plane had crashed nose down." Shortly after the bodies were removed, looters scavenged the area. Some of the items which were recovered were eventually donated to the Country Music Hall of Fame. Among them were Cline's wristwatch, a Confederate flag cigarette lighter, studded belt and three pairs of gold lamé slippers. Cline's fee in cash from the last performance was never recovered. Per her wishes, Cline's body was brought home for her memorial service, which thousands attended. People jammed against the small tent over her gold casket and the grave to take all the flowers they could reach as keepsakes. She was buried at Shenandoah Memorial Park in her hometown of Winchester, Virginia. Her grave is marked with a bronze plaque, which reads: "Virginia H. Dick ('Patsy Cline' is noted under her name) 'Death Cannot Kill What Never Dies: Love'." A memorial marks the exact place off Mt Carmel Road in Camden, Tennessee, where the plane crashed in the still-remote forest.
Posthumous releases
Music
Since Cline's death, Decca Records (later bought by MCA) has re-released her music which has made her commercially successful posthumously. The Patsy Cline Story was the first compilation album the label released following her death. It included the songs "Sweet Dreams (Of You)" and "Faded Love". Both tracks were released as singles in 1963. "Sweet Dreams" would reach number 5 on the Billboard country charts and 44 on the Hot 100. "Faded Love" would also become a top 10 hit on the Billboard country chart, peaking at number 7 in October 1963. In 1967, Decca released the compilation Patsy Cline's Greatest Hits. The album would not only peak at number 17 on the Billboard country chart, but also certified diamond in sales from the Recording Industry Association of America. In 2005, the Guinness World Book of Records included Greatest Hits for being the longest album on any record chart by any female artist.
Cline's music continued making the charts into the 1980s. Her version of "Always" made the Billboard country chart in 1980. An album of the same was also released in 1980 that peaked within the top 30 on the Billboard Top Country Albums chart. Two overdubbed duets between Cline and Jim Reeves became major hits during this time as well. Following the release of the Loretta Lynn biopic Coal Miner's Daughter (1980), there was renewed interest in Cline's career. Therefore, MCA Records reissued much of Cline's earlier studio and compilation releases. Her 1967 greatest hits album for example was repackaged in 1988 and labeled 12 Greatest Hits. The record reached number 27 on the Top Country Albums list in 1990. The soundtrack for Cline's own film biopic was released concurrently with the movie in 1985. The soundtrack would peak at number 6 on the Billboard country albums chart upon its release.
In 1991, MCA records issued her first box set entitled The Patsy Cline Collection. The album chronicled all of Cline's recorded material for Four Star and Decca Records. The boxed set received positive reviews, notably by Thom Jurek of Allmusic who rated it five out of five stars. Jurek commented, If an artist ever deserved a box set chronicling her entire career, it is Patsy Cline. Having recorded 102 sides between 1955 and her death at the age of 30 in 1963, Cline changed not only country music forever, but affected the world of pop as well. Over four CDs, arranged chronologically, the listener gets treated to a story in the development and maturation of a cultural icon who was at least, in terms of her gift, the equal of her legend. Rolling Stone listed the box set among their "50 Greatest Albums of All-Time". Writer Rob Sheffield called Cline "a badass cowgirl drama queen belts some of the torchiest, weepiest country songs ever, hitting high notes that make you sob into your margarita." The Patsy Cline Collection would reach number 29 on the Billboard country albums chart in January 1992. In 1997, MCA released Live at the Cimarron Ballroom, a rare recording that had recently resurfaced. Jeweler Bill Frazee had originally purchased a tape in 1975 which he discovered included Cline's live recording. The live performance on the record took place in July 1961, following Cline's car accident. She appeared at the Cimarron Ballroom in Tulsa, Oklahoma to give a one-night performance. Included on the record was unreleased live performances and dialog with the audience. The album peaked in the top 40 of the Billboard country albums chart. Cline's former MCA label continues releasing material to this day. Cline is listed among the Recording Industry of America's "Best Selling Artists" with a total of over 14 million records sold to date.
Film and television
Cline has been portrayed on film and television several times since the 1980s. The Loretta Lynn biopic Coal Miner's Daughter (1980) renewed interest in her life and career. Cline and Lynn's friendship was portrayed in the 1980 film. Actress Beverly D'Angelo played Cline in the movie and did her own singing of Cline's original material. D'Angelo earned a Golden Globe award nomination for her role. In an interview D'Angelo did for a 2017 PBS documentary, playing the role of Patsy Cline "had a profound impact" on her life and career.
In 1985, a feature film about Cline's life was released entitled Sweet Dreams. The film starred Jessica Lange as Cline and Ed Harris as husband Charlie Dick. Originally, Meryl Streep auditioned for Cline's role but ultimately lost to Lange. The film was produced by Bernard Schwartz, who also produced Coal Miner's Daughter. Original ideas called for scenes between Cline and Lynn, however they were ultimately removed from the final script. The film has been criticized for its lack of accuracy to Cline's own life and its musical production. Kurt Wolff wrote, "the soundtrack, however, featured overdubbed versions of Cline's material – better to stick with the originals." Mark Deming of Allmovie only gave the release two out of five stars. Deming commented, "While it's a wise approach to show how her turbulent marriage paralleled her crossover to Countrypolitan ballads, the melodrama tends to overshadow the celebrity story by relegating her rise to stardom to the background. Due to the historically dubious concerts at carnivals and fairgrounds, it appears as though she wasn't as big a star as she actually was." Deming did praise Lange's performance saying she created a "cheerful and spirited" depiction of Cline. Roger Ebert gave it two stars in his original 1985 review. Ebert said, "There isn't the sense of a well-shaped structure in this movie; there's no clear idea of what the filmmakers thought about Patsy Cline, or what thoughts her life is supposed to inspire." Lange was nominated for an Academy Award for Best Actress for her role as Cline.
Cline was also portrayed in television films. In 1995, a film about the life and career of Cline's friend Dottie West debuted on CBS titled, Big Dreams and Broken Hearts: The Dottie West Story. It included several scenes that showcased West's friendship with Cline. Actress Tere Myers played her in the television movie. Deborah Wilker of the Sun-Sentinel called her performance "terrific" and authentic.
Lifetime aired an original television film Patsy & Loretta in October 2019 on the network. It chronicles Cline's friendship with Loretta Lynn. Cline is portrayed by Megan Hilty and Lynn by Jessie Mueller. The film is directed by the Academy Award-winning screenwriter Callie Khouri. The trailer for the movie was released in July 2019. Patsy & Loretta was filmed on location in Nashville, Tennessee and is co-produced by Lynn's daughter and Cline's daughter, Julie Fudge.
There have been several documentaries made about Cline's life and career. The first was a 1989 documentary entitled The Real Patsy Cline which featured interviews with friends and fellow artists. This included Carl Perkins and Willie Nelson. Another documentary was filmed in 1994 entitled Remembering Patsy. The show was hosted by country artist Michelle Wright, who read letters Cline wrote to friends and family. It included interviews with several artists such as Roy Clark, George Jones and Trisha Yearwood. Both documentaries were produced by Cline's widower Charlie Dick. In March 2017, PBS released a documentary on Cline as part of their American Masters series. The film was narrated by Rosanne Cash and featured interviews with fans of Cline. These interviews included Beverly D'Angelo and Reba McEntire. It also included rare performances of songs such as "Three Cigarettes (In an Ashtray)" and "Walkin' After Midnight".
Plays and musicals
Cline's life and career has also been re-created in the theater sector. In 1988, the show Always...Patsy Cline premiered. The show was created by Ted Swindley who derived it from a friendship Cline had with Texas resident Louise Seger. The pair met while Cline was performing at the Esquire Ballroom in Houston, Texas. Seger brought Cline home following the show and they spent the night together. The pair would remain in contact through letters before Cline's death. Much of the script relied from letters exchanged between the two during the course of several years. Seger acts as the show's narrator and revisits memories she shared with Cline through their letter exchanges. Among the show's original performers was Mandy Barnett, who debuted the show at the Ryman Auditorium in 1994. Barnett would go on to have a music and performing career. A second musical was later released in 1991 titled A Closer Walk with Patsy Cline. The show was written by Dean Regan and has been called a "musical retelling" of Cline's career.
Artistry
Influences
Cline was influenced by various music artists. Among her earliest influences were pop singers of the 1940s and 1950s. These included Kay Starr, Helen Morgan, Patti Page, and Kate Smith. Patti Page recollected that Cline's husband said to her, "I just wish Patsy could have met you because she just adored you and listened to you all the time and wanted to be like you." Among her primary influences was Kay Starr, of whom Cline was a "fervent devotee" according to The Washington Post. Jack Hurst of the Chicago Tribune remarked that "Her rich, powerful voice, obviously influenced by that of pop's Kay Starr, has continued and perhaps even grown in popularity over the decades." Cline was also attracted to country music radio programs, notably the Grand Ole Opry. According to Mary Bufwack and Robert Oermann, Cline became "obsessed" with the program at a young age. Cline's mother Hilda Hensley commented on her daughter's admiration, "I know she never wanted anything so badly as to be a star on the Grand Ole Opry..." Among performers from the program she admired was Patsy Montana. Cline was also influenced by other types of performers including early rockabilly artist Charline Arthur.
Voice and style
Cline possessed a contralto voice. Time magazine writer Richard Corliss called her voice "bold". Her voice has also been praised for its display of emotion. Kurt Wolff called it one of the most "emotionally expressive voices in modern country music". Tony Gabrielle of the Daily Press wrote that Cline had "a voice of tremendous emotional power." Cline was at times taken by her own emotion. Husband Charlie Dick recounted that Cline's producer Owen Bradley told him to leave a recording session because she was very emotional and he didn't want to disturb the mood. Cline was once quoted in describing the emotion she felt, saying, "Oh Lord, I sing just like I hurt inside."
During her early career, Cline recorded in styles such as gospel, rockabilly, and honky-tonk. These styles she cut for Four Star Records have been considered below the quality of her later work for Decca Records. Steve Leggett of Allmusic commented, Her recordings prior to 1960, though, were something else again, and with the exception of 1956's "Walkin' After Midnight" and perhaps one or two other songs, she seemed reined in and stifled as a singer, even though she was working with the same producer, Owen Bradley, who was to produce her 1960s successes. Oh the difference a song makes, because in the end the material she recorded between 1955 and 1960 – all of which is collected on these two discs – was simply too weak for Cline to turn into anything resembling gold, even with her obvious vocal skills.
Cline's style has been largely associated with the Nashville Sound, a sub-genre of country music that linked traditional lyrics with orchestrated pop music styles. This new sound helped many of her singles to crossover onto the Billboard Hot 100 and gain a larger audience that did not always hear country music. Her producer Owen Bradley built this sound onto her Decca recordings, sensing a potential in her voice that went beyond traditional country music. At first, she resisted the pop-sounding style, but was ultimately convinced to record in this new style. Stephen M. Desuner of Pitchfork explained that Cline has been an identifiable factor with the Nashville Sound: "She essentially rewrote their songs simply by singing them, elevating their words and wringing every one of their rhymes for maximum dramatic potential." Mark Deming of Allmusic commented, "Cline and Bradley didn't invent "countrypolitan," but precious few artists managed to meld the sophistication of pop and the emotional honesty of country as brilliantly as this music accomplishes with seemingly effortless grace, and these songs still sound fresh and brilliantly crafted decades after the fact."
Image
Cline's public image changed during the course of her career. She began her career wearing cowgirl dresses and hats designed by her mother. However, as her music crossed over into pop, she began wearing sequined gowns and cocktail dresses. While she would often wear cowgirl costumes for live performances, she would also wear evening dresses for television and metropolitan performances. For her 1957 performance on Arthur Godfrey's Talent Scouts, the show's producer insisted that Cline wear an evening dress instead of the fringed cowgirl attire she had intended to wear. Her 1962 engagement at the Merri-Mint Theatre in Las Vegas represented this particular image shift. For one of her performances, Cline wore a sequined cocktail dress designed by her mother.
Cline has also been seen as a pioneer for women in country music. She has been cited as an inspiration by many performers in diverse styles of music. Kurt Wolff of Country Music: The Rough Guide said that Cline had an "aggression" and "boisterous attitude" that gained her the respect of her male counterparts. Wolff explained, "She swaggered her way past stereotypes and other forces of resistance, showing the men in charge – and the public in general – that women were more than capable of singing about such hard subjects as divorce and drinking as well as love and understanding. Sean O'Hagan of The Guardian commented that along with Minnie Pearl, Jean Shepard and Kitty Wells, Cline helped prove that country music was not "macho" and that "strong women" could have a "strong voice". In 2013, The Washington Post wrote, "she was what I call a pre-feminist woman. She didn't open doors; she kicked them down." Mary Bufwack and Robert K. Oermann wrote in 2003 that Cline "transformed what it meant to be a female country star".
Legacy
Cline has been cited in both country and pop music as of one of the greatest vocalists of all-time. Her voice has also been called "haunting", "powerful", and "emotional". Cline's emotional expression and delivery of lyrics helped influence various musical genres and artists. With the support of producer Owen Bradley, Cline has been said to "help define" the Nashville Sound style of country music. While the subgenre has received mixed opinions, it has also been said to be a significant part of country music's "authenticity", with Cline being the center focal point of the subgenre. Other artists have noted her impact, including LeAnn Rimes who stated, "I remember my dad telling me to listen to the way she told a story... I remember feeling more emotion when she sang than anyone else I had ever heard." Lucinda Williams commented on Cline's vocal talent in helping define her legacy, stating, "Even though her style is considered country, her delivery is more like a classic pop singer... That's what set her apart from Loretta Lynn or Tammy Wynette. You'd almost think she was classically trained."
Cline has been a major influence on various music artists including Reba McEntire, Loretta Lynn, LeAnn Rimes, k.d. lang, Linda Ronstadt, Trisha Yearwood, Sara Evans, Dottie West, Kacey Musgraves, Margo Price, Cyndi Lauper, Trixie Mattel and Brandi Carlile. Dottie West (also a close friend of Cline's) spoke about her influence on her own career, "I think I was most influenced by Patsy Cline, she said things for people. There was so much feeling in there. In fact, she told me, 'Hoss, if you can't do it with feeling, don't'". In 2019, Sara Evans discussed how Cline has been an influence since she was a young girl, "I learned everything I could learn about her. I tried to mimic her singing to the ‘t’. We grew up singing in bars — my brothers, sisters and I — from the time I was really little. So I started covering every Patsy Cline song. Then when I first got my record deal I came to Winchester to visit a radio station to try to get them to play my song Three Chords and the Truth."
In 1973, Cline was inducted into the Country Music Hall of Fame. With the induction, she became the first solo female artist to be included. In 1977, Cline's friend and mentee Loretta Lynn released a tribute album entitled I Remember Patsy. The record contained covers of Cline's songs, including "Back in Baby's Arms" and "Crazy". The album's lead single was "She's Got You", which would reach the number 1 spot on the Billboard country chart in 1977. In 1995, Cline received a Grammy Lifetime Achievement Award for her legacy and career. Additionally, her hits "I Fall to Pieces" and "Crazy" received inductions into the Grammy Hall of Fame.
In 1993, Cline was included on United States postal stamps as part of their "Legends" series. Other country artists that were included on stamp series were The Carter Family, Hank Williams, and Bob Wills. The stamps were dedicated in an official ceremony at the Grand Ole Opry by Postmaster General Marvin Runyon. In August 1999, Cline received a star on the Hollywood Walk of Fame. The ceremony was attended by her widower Charlie Dick and daughter Julie Fudge. During the 1990s, two of her songs were voted among the "Greatest Juke Box Hits of All-Time". "Crazy" was voted as the number 1 greatest, along with "I Fall to Pieces" ranking at number 17.
Since the late 1990s, she received additional rankings and honors. In 1999, Cline was ranked at number 11 among VH1's list of the "100 Greatest Women of Rock and Roll". In 2003, she was included by Country Music Television on their list of the "40 Greatest Women of Country Music". In 2010, Cline ranked at number 46 on Rolling Stones list of the "100 Greatest Singers of All-Time". The magazine would rank her on their 2017 list of the "100 Greatest Country Artists of All-Time", where she placed at number 12.
Forty years after her death, MCA Nashville released a tribute album entitled Remembering Patsy Cline (2003). A television special also followed around the same time. The album consisted of cover versions of songs taken from Cline's 1967 greatest hits album. It included songs covered by country artists such as Terri Clark and Martina McBride. It also featured artists from other genres such as Michelle Branch, Diana Krall and Patti Griffin.
Cline's hometown of Winchester, Virginia has helped honor her legacy and career. In 1987, the local government approved the placing of markers within the town denoting it as the birthplace of Cline. The same year, a bell tower was erected in her burial location at Shenandoah Memorial Park. The bell tower cost thirty five thousand dollars and was partially funded by Cline's friends Jan Howard and Loretta Lynn. In 2005, Cline's childhood home was given an official on-site marker and included on the National Register of Historic Places. With the development of an organization entitled Celebrating Patsy Cline Inc., renovations began on Cline's childhood home. In August 2011, the Patsy Cline House officially opened as a historic home for tours. In almost three months, about three thousand people visited the home. The home was restored to the era in which Cline lived in it during the 1950s with her mother and siblings. Replicas of furniture and stage clothes are also included. Daughter Julie Fudge spoke of the house in 2011, stating, “I think when you go into the house, you will kind of feel like this is a snapshot of what it would have been like to visit when Mom lived there.”
In 2017, the Patsy Cline Museum opened in Nashville, Tennessee, located at 119 3rd Ave. S., on the second floor in the same building as the Johnny Cash Museum. The museum includes Cline's actual stage costumes, as well as her original scrapbook and record albums. The Patsy Cline Museum features other artifacts, such as the soda fountain machine from Gaunt's Drug Store, where Cline worked as a teenager. Original letters that Cline wrote to friends are also included as part of the museum.
Discography
Studio albums
1957: Patsy Cline
1961: Patsy Cline Showcase
1962: Sentimentally Yours
Posthumous studio albums
1964: A Portrait of Patsy Cline
1964: That's How a Heartache Begins
1980: Always
References
Footnotes
Books
Further reading
Bego, Mark. I Fall to Pieces: The Music and the Life of Patsy Cline. Adams Media Corporation.
Hazen, Cindy and Mike Freeman. Love Always, Patsy. The Berkley Publishing Group.
Jones, Margaret (1998). "Patsy Cline". In The Encyclopedia of Country Music. Paul Kingsbury, Editor. New York: Oxford University Press. pp. 98–9.
Gomery, Douglas Patsy Cline: The Making of an Icon. Trafford Publishing.
External links
Celebrating Patsy Cline an official organization sponsoring several projects
Patsy Cline Home and Museum located in Winchester, Virginia
Patsy Cline recordings at the Discography of American Historical Recordings.
The Patsy Cline Plane Crash
1932 births
1963 deaths
20th-century American composers
20th-century American singers
20th-century American women singers
20th-century women composers
Accidental deaths in Tennessee
American contraltos
American country singer-songwriters
American women composers
American women country singers
American women pop singers
American women singer-songwriters
American rockabilly musicians
Country Music Hall of Fame inductees
Country musicians from Tennessee
Country musicians from Virginia
Cowgirl Hall of Fame inductees
Deaths in Tennessee
Decca Records artists
Four Star Records artists
Grammy Lifetime Achievement Award winners
Grand Ole Opry members
People from Goodlettsville, Tennessee
People from Winchester, Virginia
Rock and roll musicians
Singer-songwriters from Virginia
Torch singers
Traditional pop music singers
Victims of aviation accidents or incidents in 1963
Victims of aviation accidents or incidents in the United States
Musicians killed in aviation accidents or incidents
Singer-songwriters from Tennessee
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"Jolán Simon (31 May 1885, Újpest – 24 September 1938, Budapest) was a Hungarian actor active in the Hungarian avant-garde during the early nineteenth century.\n\nHer father died when she was still a child, so she was obliged to start work at an early age. She was largely self-taught but she did attend Kálmán Rózsahegyi’s drama school.\n\nReferences\n\n1885 births\n1938 deaths\n1938 suicides\n20th-century Hungarian actresses\nPeople from Újpest\nSuicides in Hungary",
"Ann O'Grady Bagnall (25 March 1927 - 8 September 2017) was a British school teacher and publisher who specialised in republishing historic cookbooks.\n\nBiography\nShe was born Ann Haly in Edinburgh on 25 March 1927, the daughter of John Haly, a naval officer, and his wife Marie. She was raised in Bexhill on Sea. She was educated at Ancaster Gate School but did not attend university, instead working as a chambermaid after her father fell on hard times. She paid her own fees to attend art college in Devon and then the Central School of Arts and Crafts in London.\n\nBagnall worked as an art teacher in schools in East Sussex. Late in life she had the idea to reprint old cookbooks and in 1987 set up her own publishing company, Southover Press, which was very successful in finding forgotten Tudor and Georgian works. She retired and sold the list to Equinox Books in 2007.\n\nAnn Haly married the journalist Nicholas Bagnall. She died in 2017, aged 90 years.\n\nReferences \n\n1927 births\n2017 deaths\nPublishers (people) from Edinburgh\nSchoolteachers from Sussex\nBritish publishers (people)\n20th-century British businesspeople"
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[
"Patsy Cline",
"Early years",
"Was she musical from childhood?",
"She was the eldest child of seamstress Hilda Virginia (nee Patterson, 1916-1998) and blacksmith Samuel Lawrence Hensley (1889-1956).",
"When did she discover she had talent for singing?",
"When Patsy was 13,",
"When did she start singing professionally?",
"she asked WINC (AM) disc jockey Jimmy McCoy if she could sing on his show. Her performance in 1947 was well received",
"Did that lead to other opportunities?",
"This led to appearances at local nightclubs wearing fringed Western outfits that her mother made from Patsy's designs.",
"What city or town was that in?",
"Cline performed in variety and talent shows in the Winchester and Tri-State areas,",
"What state in Winchester in?",
"I don't know.",
"Did she attract the attention of management when she was playing in those nightclubs?",
"I don't know.",
"Where did she attend school?",
"Cline enrolled at John Handley High School but never attended classes."
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Did she go on to college?
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Did Patsy Cline go on to college?
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Patsy Cline
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Patsy Cline was born Virginia Patterson Hensley on September 8, 1932 in Winchester, Virginia, in the city's Memorial Hospital. She was the eldest child of seamstress Hilda Virginia (nee Patterson, 1916-1998) and blacksmith Samuel Lawrence Hensley (1889-1956). She had a brother Samuel Jr. (1939-2004) and a sister Sylvia. The family moved often before finally settling in Winchester, Virginia when Patsy was 16. Sam Hensley deserted his family in 1947, but the children's home was reportedly happy nonetheless. When Patsy was 13, she was hospitalized with a throat infection and rheumatic fever. She later said, "The fever affected my throat and when I recovered I had this booming voice like Kate Smith." Cline enrolled at John Handley High School but never attended classes. To help her mother support their family, she worked as a soda jerk at Gaunt's Drug Store and a waitress at the Triangle Diner. She watched performers through the window at the local radio station, and she asked WINC (AM) disc jockey Jimmy McCoy if she could sing on his show. Her performance in 1947 was well received and she was asked back. This led to appearances at local nightclubs wearing fringed Western outfits that her mother made from Patsy's designs. Cline performed in variety and talent shows in the Winchester and Tri-State areas, and she gained a large following through the shows and local radio appearances. Jimmy Dean was already a country star in 1954, and she became a regular with him on Connie B. Gay's Town and Country Jamboree radio show on WAVA (AM) in Arlington County, Virginia. CANNOTANSWER
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To help her mother support their family, she worked as a soda jerk at Gaunt's Drug Store and a waitress at the Triangle Diner.
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Patsy Cline (born Virginia Patterson Hensley; September 8, 1932 – March 5, 1963) was an American singer. She is considered one of the most influential vocalists of the 20th century and was one of the first country music artists to successfully cross over into pop music. Cline had several major hits during her eight-year recording career, including two number-one hits on the Billboard Hot Country and Western Sides chart.
Cline's first professional performances began at the local WINC radio station when she was fifteen. In the early 1950s, Cline began appearing in a local band led by performer Bill Peer. Various local appearances led to featured performances on Connie B. Gay's Town and Country television broadcasts. It also led to the signing of her first recording contract with the Four Star label in 1954. She had minor success with her earliest Four Star singles including "A Church, a Courtroom, Then Goodbye" (1955) and "I've Loved and Lost Again" (1956). In 1957 however, Cline made her first national television appearance on Arthur Godfrey's Talent Scouts. After performing "Walkin' After Midnight", the single would become her first major hit on both the country and pop charts.
Cline's further singles with Four Star Records were unsuccessful, although she continued performing and recording. After marrying in 1957 and giving birth in 1958, she moved to Nashville, Tennessee, to further her career. Working with new manager Randy Hughes, Cline would become a member of the Grand Ole Opry and then move to Decca Records in 1960. Under the direction of producer Owen Bradley, her musical sound shifted and she achieved consistent success. The 1961 single "I Fall to Pieces" would become her first to top the Billboard country chart. As the song became a hit, Cline was severely injured in an automobile accident, which caused her to spend a month in the hospital. After she recovered, her next single release "Crazy" would also become a major hit.
Between 1962 and 1963, Cline had hits with "She's Got You", "When I Get Through with You", "So Wrong" and "Leavin' on Your Mind". She also toured and headlined shows with more frequency. In March 1963, Cline was killed in a plane crash along with country performers Cowboy Copas, Hawkshaw Hawkins and manager Randy Hughes, during a flight from Kansas City, Kansas back to Nashville.
Since her death, Cline has been cited as one of the most celebrated, respected and influential performers of the 20th century. Her music has influenced performers of various styles and genres. She has also been seen as a forerunner for women in country music, being among the first to sell records and headline concerts. In 1973, she became the first female performer to be inducted into the Country Music Hall of Fame. In the 1980s, Cline's posthumous successes continued in the mass media. She was portrayed twice in major motion pictures, including the 1985 biopic Sweet Dreams starring Jessica Lange. Several documentaries and stage shows were released during this time, including the 1988 musical Always...Patsy Cline. A 1991 box set of her recordings was issued that received critical acclaim. Her greatest hits album sold over 10 million copies in 2005. In 2011, Cline's childhood home was restored as a museum for visitors and fans to tour. In 2017, Cline’s Dream Home in Nashville, TN was placed on the Tennessee Historical Markers List by the Patsy Cline Fan Home Owners, Steven Shirey and Thomas Corritore.
Early life
Cline was born Virginia Patterson Hensley in Winchester, Virginia on September 8, 1932, to Hilda Virginia (née Patterson; 1916–1998) and Samuel Lawerence Hensley (1889–1956). Mrs. Hensley was only 16 years old at the time of Cline's birth. Sam Hensley had been married before; Cline had two half siblings (aged 12 and 15) that lived with a foster family because of their mother's death years before. After Cline, Hilda Hensley would also have Samuel Jr. (called John) and Sylvia Mae. Besides being called "Virginia" in her childhood, Cline was also referred to as "Ginny". She temporarily lived with her mother's family in Gore, Virginia before relocating many times throughout the state. In her childhood, the family relocated where Samuel Hensley, a blacksmith, could find employment, including Elkton, Staunton, and Norfolk. When the family had little money, she would find work. This included an Elkton poultry factory, where her job was to pluck and cut chickens. The family moved often before finally settling in Winchester, Virginia on South Kent Street. Cline would later report that her father sexually abused her. When confiding about the abuse to friend Loretta Lynn, Cline told her, "take this to your grave". Hilda Hensley would later report details of the abuse to producers of Cline's 1985 biopic Sweet Dreams.
At age 13, Cline was hospitalized with a throat infection and rheumatic fever. Speaking of the incident in 1957 she said, "I developed a terrible throat infection and my heart even stopped beating. The doctor put me in an oxygen tent. You might say it was my return to the living after several days that launched me as a singer. The fever affected my throat and when I recovered I had this booming voice like Kate Smith's." It was during this time she developed an interest in singing. She started performing with her mother in the local Baptist choir. Mother and daughter also performed duets at church social events. She also taught herself how to play the piano.
With the new performing opportunities, Cline's interest in singing only grew further and at the age of 14, she told her mother that she was going to audition for the local radio station. Her first radio performances began at WINC in the Winchester area. According to WINC's radio disc jockey Joltin' Jim McCoy, Cline appeared in the station's waiting room one day and asked to audition. McCoy was impressed by her audition performance, reportedly saying, "Well, if you've got nerve enough to stand before that mic and sing over the air live, I've got nerve enough to let you." While also performing on the radio, Cline also started appearing in talent contests and created a nightclub cabaret act similar to performer Helen Morgan.
Cline's mother and father had marital conflicts during her childhood and by 1947, her father deserted the family. Author Ellis Nassour of the biography Honky Tonk Angel: An Intimate Story of Patsy Cline reported Cline had a "beautiful relationship" with her mother. In his interviews with Hilda Hensley, he quoted Cline's mother in saying they "were more like sisters" than parent and child. Upon entering the ninth grade, Cline enrolled at John Handley High School in Winchester, Virginia. However, the family had trouble sustaining an income after her father's desertion. Therefore, Cline dropped out of high school to help support the family. She began working at Gaunt's Drug Store in the Winchester area as a clerk and soda jerk.
Career
1948–1953: Early career
At age 15, Cline wrote a letter to the Grand Ole Opry asking for an audition. She told local photographer Ralph Grubbs about the letter, "A friend thinks I'm crazy to send it. What do you think?" Grubbs encouraged Cline to send it. Several weeks later, she received a return letter from the Opry asking for pictures and recordings. At the same time, Gospel performer Wally Fowler headlined a concert in her hometown. Cline convinced concert employees to let her backstage where she asked Fowler for an audition. Following a successful audition, Cline's family received a call asking for her to audition for the Opry. She traveled with her mother, two siblings, and a family friend on an eight-hour journey to Nashville, Tennessee. With limited finances, they drove overnight and slept in a Nashville park the following morning. Cline auditioned for Opry performer Moon Mullican the same day. The audition was well-received and Cline expected to hear from the Opry the same day. However, she never received news and the family returned to Virginia.
By the early 1950s, Cline continued performing around the local area. In 1952, she asked to audition for local country bandleader Bill Peer. Following her audition, she began performing regularly as a member of Bill Peer's Melody Boys and Girls. The pair's relationship turned romantic, continuing an affair for several years. Nonetheless, the pair remained married to their spouses. Peer's group played primarily at the Moose Lodge in Brunswick, Maryland where she would meet her first husband, Gerald Cline. Peer encouraged her to have a more appropriate stage name. She changed her first name from Virginia to Patsy (taken from her middle name "Patterson"). She kept her new last name, Cline. Ultimately, she became professionally known as "Patsy Cline".
In August 1953, Cline was a contestant in a local country music contest. She won 100 dollars and the opportunity to perform as a regular on Connie B. Gay's Town and Country Time. The show included country stars Jimmy Dean, Roy Clark, George Hamilton IV and Billy Grammer, and was filmed in Washington D.C. and Arlington, Virginia. She was not officially added to the program's television shows until October 1955. Cline's television performances received critical acclaim. The Washington Star magazine praised her stage presence, commenting, "She creates the moods through movement of her hands and body and by the lilt of her voice, reaching way down deep in her soul to bring forth the melody. Most female country music vocalists stand motionless, sing with monotonous high-pitched nasal twang. Patsy's come up with a throaty style loaded with motion and E-motion."
1954–1960: Four Star Records
In 1954, Bill Peer created and distributed a series of demonstration tapes with Cline's voice on it. A tape was brought to the attention of Bill McCall, president of Four Star Records. On September 30, 1954, she signed a two-year recording contract with the label alongside Peer and her husband Gerald Cline. The original contract allowed Four Star to receive most of the money for the songs she recorded. Therefore, Cline received little of the royalties from the label, totaling out to 2.34 percent on her recording contract. Her first recording session took place in Nashville, Tennessee on January 5, 1955. Songs for the session were handpicked by McCall and Paul Cohen. Four Star leased the recordings to the larger Decca Records. For those reasons Owen Bradley was chosen as the session's producer, a professional relationship that would continue into the 1960s. Her first single release was 1955's "A Church, a Courtroom, Then Goodbye". Although Cline promoted it with an appearance on the Grand Ole Opry the song was not successful.
Cline recorded a variety of musical styles while recording for Four Star. This included genres such as gospel, rockabilly, traditional country and pop. Writers and music journalists have had mixed beliefs on Cline's Four Star material. Robert Oermann and Mary Bufwack of Finding Her Voice: Women in Country Music called the label's choice of material "mediocre". They also commented that Cline seemed to have "groped for her own sound on the label". Kurt Wolff of Country Music the Rough Guide commented that the music was "sturdy enough, but they only hinted at the potential that lurked inside her. Richie Unterberger of Allmusic claimed it was Cline's voice that made the Four Star material less appealing: "Circumstances were not wholly to blame for Cline's commercial failures. She would have never made it as a rockabilly singer, lacking the conviction of Wanda Jackson or the spunk of Brenda Lee. In fact, in comparison with her best work, she sounds rather stiff and ill-at-ease on most of her early singles."
Between 1955 and 1956, Cline's four singles for Four Star failed to become hits. However, she continued performing regionally, including on the Town and Country Jamboree. In 1956, she appeared on ABC's Country Music Jubilee, Ozark Jubilee. It was at one of her local performances that she met her second husband, Charlie Dick. In 1956, Cline received a call to perform on Arthur Godfrey's Talent Scouts, a national television show she had auditioned for several months prior. She accepted the offer, using her mother Hilda Hensley as her talent scout for the show. According to the show's rules, talent scouts could not be family members. For those reasons, Cline's mother lied in order to appear on the show. When Arthur Godfrey asked if Hensley had known Cline her entire life, she replied, "Yes, just about!"
Cline and Mrs. Hensley flew into LaGuardia Airport in New York City on January 18, 1957. She made her debut appearance on the program on January 21. The day of the show, she met with the show's producer Janette Davis. Cline had chosen "A Poor Man's Roses (Or a Rich Man's Gold)" to perform on the program, but Davis preferred another song she had recorded, "Walkin' After Midnight". Cline initially refused to perform it, but ultimately agreed to it. Davis also suggested Cline wear a cocktail dress instead of the cowgirl outfit created by her mother. She performed "Walkin' After Midnight" and won the program's contest that night. The song had not yet been released as a single. In order to keep up with public demand, Decca Records rush-released the song as a single on February 11. The song ultimately became Cline's breakthrough hit, peaking at number 2 on the Billboard Hot Country and Western Sides chart. The song also reached number 12 on the Billboard pop music chart. The song has since been considered a classic in country music since its release.
Music critics and writers have positively praised "Walkin' After Midnight". Mary Bufwack and Robert Oermann called the song "bluesy". Richie Unterberger noted "it's well-suited for the almost bemused aura of loneliness of the lyric." The success of "Walkin' After Midnight" brought Cline numerous appearances on shows and major networks. She continued working for Arthur Godfrey over the next several months. She also appeared on the Grand Ole Opry in February and the television program Western Ranch Party in March. The money she had earned from her numerous engagements totaled out to ten thousand dollars. Cline gave all the money to her mother, which she used to the pay the mortgage on her Winchester house. In August 1957, her debut studio album was issued via Decca Records.
Cline's follow-up singles to "Walkin' After Midnight" did not yield any success. This was partially due to the quality of material chosen for her to record. Cline was dissatisfied with the limited success following "Walkin' After Midnight". Bradley recounted how she often came to him saying, "Hoss, can't you do something? I feel like a prisoner." Around the same time, Cline was fired from her regular slot on Town and Country Jamboree. According to Connie B. Gay, she ran late for shows and "showed up with liquor on her breath". In September 1957, Cline married Charlie Dick and he was soon sent to Fort Bragg, North Carolina on a military assignment. Cline also gave birth to her first daughter Julie. In hopes of restarting her career, Cline and her family moved to Nashville, Tennessee.
1960–1961: New beginnings and car accident
Cline's professional decisions yielded more positive results by the early 1960s. Upon moving to Nashville, she signed a management deal with Randy Hughes. She originally wished to work with Hubert Long, however, he was busy managing other artists. Instead, she turned her attention to Hughes. With the help of Hughes, she began working steadier jobs. He organized fifty dollar bookings and got her multiple performances on the Grand Ole Opry. In January 1960, Cline officially became a member of the Opry. When she asked general manager Ott Devine about a membership he replied, "Patsy, if that's all you want, you're on the Opry." Also in January 1960, Cline made her final recording sessions set forth in her contract with Four Star Records. Later that year, her final singles with the label were released: "Lovesick Blues" and "Crazy Dreams". Leaving Four Star, Cline officially signed with Decca Records in late 1960, working exclusively under Bradley's direction. Insisting on receiving an advance, she received $1,000 from Bradley once she began at the label.
Her first release under Decca was 1961's "I Fall to Pieces". The song was written by newly established Nashville songwriters Hank Cochran and Harlan Howard. "I Fall to Pieces" had first been turned down by Roy Drusky and Brenda Lee before Cline cut it in November 1960. At the recording session, she worried about the song's production, particularly the background vocals performed by The Jordanaires. After much arguing between both Cline and Bradley, they negotiated that she would record "I Fall to Pieces" (a song Bradley favored) and "Lovin' in Vain" (a song she favored). Released as a single in January 1961, "I Fall to Pieces" attracted little attention upon its initial issue. In April, the song debuted on the Hot Country and Western Sides chart. By August 7, the song became her first to top the country chart. Additionally, "I Fall to Pieces" crossed over onto the Billboard Pop chart, peaking at number 12.
On June 14, 1961, Cline and her brother Sam Hensley, Jr. were involved in an automobile accident. Cline had brought her mother, sister and brother to see her new Nashville home the day before. On the day of the accident, Cline and her brother went shopping to buy material for her mother to make clothing. Upon driving home, their car was struck head-on by another vehicle. The impact threw her directly into the car windshield, causing extensive facial injuries. Among her injuries, Cline suffered a broken wrist, dislocated hip and a large cut across her forehead, barely missing her eyes. Friend Dottie West heard about the accident via the radio and rushed to the scene, helping to remove pieces of broken glass from Cline's hair. When first responders arrived, Cline insisted the driver in the other vehicle be treated first. Two of the three passengers riding in the car that struck Cline died after arriving at the hospital. When she was brought to the hospital, her injuries were life-threatening and she was not expected to live. She underwent surgery and survived. According to her husband Charlie Dick, upon waking up she said to him, "Jesus was here, Charlie. Don't worry. He took my hand and told me, 'No, not now. I have other things for you to do.'" She spent a month recovering in the hospital.
1961–1963: Career peak
Cline returned to her career six weeks after her 1961 car accident. Her first public appearance was on the Grand Ole Opry where she assured fans she would continue performing. She said to the audience that night, "You're wonderful. I'll tell you one thing: the greatest gift, I think, that you folks coulda given me was the encouragement that you gave me. Right at the very time I needed you the most, you came through with the flying-est colors. And I just want to say you'll just never know how happy you made this ol' country gal." Cline's follow-up single to "I Fall to Pieces" was the song "Crazy". It was written by Willie Nelson, whose version of the song was first heard by Dick. When Dick brought the song to Cline she did not like it. When Dick encouraged her to record "Crazy", Cline replied, "I don't care what you say. I don't like it and I ain't gonna record it. And that's that." Bradley liked the song and set the date for its recording for August 17. When Cline got to Bradley's studio, he convinced her to record it. She listened to Nelson's version of "Crazy" and decided she was going to perform it differently. Nelson's version included a spoken section that Cline removed. She cut additional material on August 17 and when she got to "Crazy", it became difficult to perform. Because Cline was still recovering from the accident, performing the song's high notes caused rib pain. Giving her time to rest, Bradley sent her home while musicians laid down the track without her. A week later she returned and recorded her vocal in a single take.
"Crazy" was released as a single in October 1961, debuting on the Billboard country charts in November. It would peak at number 2 there and number 9 on the same publication's pop charts. "Crazy" would also become Cline's biggest pop hit. "Crazy" has since been called a country music standard. Cline's vocal performance and the song's production have received positive praise over time. Cub Koda of AllMusic noted the "ache" in her voice that makes the song stand out: "Cline's reading of the lyric is filled with an aching world weariness that transforms the tune into one of the first big crossover hits without even trying hard." Country music historian Paul Kingsbury also highlighted her "ache", saying in 2007, "Cline's hit recording swings with such velvety finesse, and her voice throbs and aches so exquisitely, that the entire production sounds absolutely effortless." Jhoni Jackon of Paste Magazine called the recording "iconic", highlighting the "pain" Cline had in her vocal technique. Her second studio album Patsy Cline Showcase was released in late 1961. The album featured both major hits from that year and re-recorded versions of "Walkin' After Midnight" and "A Poor Man's Roses (Or a Rich Man's Gold)".
"Crazy" and Cline's further Decca recordings have received critical praise. Mary Bufwack and Robert Oermann noted "Her thrilling voice invariably invested these with new depth. Patsy's dramatic volume control, stretched-note effects, sobs, pauses and unique ways of holding back, then bursting into full-throated phrases also breathed new life into country chestnuts like "San Antonio Rose", "Blue Moon of Kentucky" and "Half as Much". Richie Unterberger of AllMusic commented that her voice "sounded richer, more confident, and more mature, with ageless wise and vulnerable qualities that have enabled her records to maintain their appeal with subsequent generations." Kurt Wolff of Country Music the Rough Guide reported that Owen Bradley recognized potential in Cline's and once he gained studio control, he smoothed arrangements and "refine her voice into an instrument of torch-singing glory."
In November 1961, she was invited to perform as part of the Grand Ole Opry's show at Carnegie Hall in New York City. She was joined by Opry stars Minnie Pearl, Grandpa Jones, Jim Reeves, Bill Monroe, Marty Robbins, and Faron Young. Despite positive reviews, New York Journal-American columnist Dorothy Kilgallen commented, "everybody should get out of town because the hillbillies are coming!" The comment upset Cline and did not affect ticket sales. The Opry performance would later be sold out. By the end of year, Cline had won several major industry awards including "Favorite Female Vocalist" from Billboard Magazine and Cashbox Magazines "Most Programmed Female Artist". Also in 1961, Cline was back in the studio to record an upcoming album. Among the first songs she recorded was "She's Got You". Written by Hank Cochran, he pitched the song to Cline over the phone. Insisting to hear it in-person, Cochran brought the recording over to her house, along with a bottle of alcohol. Upon listening to it again, she liked the song and wanted to record it. Owen Bradley also liked the song and it was officially recorded on December 17, 1961. "She's Got You" became her third country-pop crossover hit by early 1962. "She's Got You" would also be her second number 1 hit on the Billboard country chart. It was also Cline's first entry in the United Kingdom singles chart, reaching number 43. The cover by Alma Cogan, one of Britain's most popular female artists of the 1950s, performed notably as well.
In 1962, Cline had three major hits with "When I Get Through with You", "So Wrong" and "Imagine That". Cline's career successes helped her become financially stable enough to purchase her first home. She bought a ranch house located Goodlettsville, Tennessee, a suburb of Nashville. The home was decorated by Cline and included a music room, several bedrooms and a large backyard. According to Dottie West, "the house was her mansion, the sign she'd arrived." Cline called it her "dream home" and often had friends over to visit. After her death, the house was sold to country artist Wilma Burgess. In the summer of 1962, manager Randy Hughes got her a role in a country music vehicle film. It also starred Dottie West, Webb Pierce and Sonny James. After arriving to film in DeLand, Florida, the producer had "ran off with the money", according to West. The movie was never made. In August, her third studio album Sentimentally Yours was released. It featured "She's Got You" as well as several country and pop standards. According to biographer Ellis Nassour, her royalties "were coming in slim" and she needed "financial security". Therefore, Randy Hughes arranged Cline to work at the Merri-Mint Theatre in Las Vegas, Nevada for 35 days. Cline would later dislike the experience. During the engagement, she developed a dry throat. She also was homesick and wanted to spend time with her children. By appearing at the engagement, Cline became the first female country artist to headline her own show in Las Vegas.
During this period Cline was said to have experienced premonitions of her own death. Dottie West, June Carter Cash, and Loretta Lynn recalled Cline telling them she felt a sense of impending doom and did not expect to live much longer. In letters, she would also describe the happiness of her new career successes. In January 1963, her next single "Leavin' on Your Mind" was released and debuted on the Billboard country chart soon after. In February, she recorded her final sessions for Decca Records. Among the songs recorded were "Sweet Dreams", "He Called Me Baby", and "Faded Love". Cline arranged for friends Jan Howard and Dottie West to come and hear the session playbacks. According to Howard, "I was in awe of Patsy. You know, afterward you're supposed to say something nice. I couldn't talk. I was dumbfounded."
Personal life
Friendships
Cline had close friendships with several country artists and performers. Her friendship with Loretta Lynn has been the subject of numerous books, songs, films and other projects. The pair first met when Lynn performed "I Fall to Pieces" on the radio shortly after Cline's 1961 car accident. Cline heard the broadcast and sent her husband to pick up Lynn so they could meet. According to Lynn, the pair became close friends "right away". Lynn later described their friendship in detail, "She taught me a lot about show business, like how to go on a stage and how to get off. She even bought me a lot of clothes...She even bought me curtains and drapes for my house because I was too broke to buy them...She was a great human being and a great friend." Lynn also noted they became so close that Cline even gave her underwear. Lynn still has the underwear in storage, saying it was "well-made".
Dottie West was another female country artist with whom Cline became friends. They first met backstage at the Grand Ole Opry. West wrote Cline a fan letter after hearing her first hit "Walkin' After Midnight". According to West, Cline "showed a genuine interest in her career" and they became close friends. The pair often spent time at their homes and worked on packaged tour dates together. West also stated Cline was a supportive friend who helped out in times of need.
Jan Howard was a third female artist with whom Cline had a close friendship. The pair first met when Cline tried starting an argument with Howard backstage at the Grand Ole Opry. She said to Howard, "You're a conceited little son of a bitch! You just go out there, do your spot, and leave without saying hello to anyone." Howard was upset and replied angrily back. Cline then laughed and said, "Slow down! Hoss, you're all right. Anybody that'll stand there and talk back to the Cline like that is all right...I can tell we're gonna be good friends!" The pair remained close for the remainder of Cline's life. Other friendships Cline had with female artists included Brenda Lee, Barbara Mandrell and pianist Del Wood. She also became friends with male country artists including Roger Miller, who helped Cline find material to record. Faron Young was another male artist whom Cline befriended from working on tour together. While on tour, the pair would spend time together, including a trip to Hawaii where the pair saw a hula show.
Family
Cline's mother Hilda Hensley continued living in Winchester, Virginia following her daughter's death. She rented out the family's childhood home on South Kent Street and lived across the street. Following Cline's death, Hensley briefly spent time raising her two grandchildren in Virginia. Hensley maintained a closet full of her daughter's stage costumes, including a sequined dress Cline wore while performing in Las Vegas in 1962. She worked as a seamstress and made many of her daughter's stage costumes. Hensley died from natural causes in 1998. Cline's father Samuel Hensley died of lung cancer in 1956. Hensley had previously deserted the family in 1947 and shortly before his death, Cline and her mother visited him at a hospital in Martinsburg, West Virginia. After discovering his current state, Cline said to her mother, "Mama, I know what-all he did, but it seems he's real sick and may not make it. In spite of everything, I want to visit him." Both of Cline's surviving siblings fought in court over their mother's estate. Because of legal fees, many of Cline's possessions were sold at auction.
Cline had two surviving children at the time of her death: Julie Simadore (born 1958) and Allen Randolph "Randy" (born 1961). Julie has been a significant factor in keeping her mother's legacy alive. She has appeared at numerous public appearances in support of her mother's music and career. Following the death of her father in 2015, she helped open a museum dedicated to Cline in Nashville, Tennessee. Julie has few memories of her mother due to Cline's death while she was young. In an interview with People Magazine, Julie discussed her mother's legacy, "I do understand her position in history, and the history of Nashville and country music...I'm still kind of amazed at it myself, because there's 'Mom' and then there's 'Patsy Cline,' and I'm actually a fan."
The present day American female blues, swing, and rock and roll singer, songwriter and record producer, Casey Hensley, is a distant relation of Cline's.
Marriages
Cline was married twice. Her first marriage was to Gerald Cline, on March 7, 1953. His family had owned a contracting and excavating company in Frederick, Maryland. According to Cline's brother Sam, he liked "flashy cars and women." The two met while she was performing with Bill Peer at the Moose Lodge in Brunswick, Maryland. According to Gerald Cline, "It might not have been love at first sight when Patsy saw me, but it was for me." Gerald Cline often took her to "one-nighters" and other concerts she performed in. Although he enjoyed her performances, he could not get used to her touring and road schedule. Patsy had told a friend during their marriage that she didn't think she "knew what love was" upon marrying Gerald. The pair began living separately by the end of 1956 and divorced in 1957.
Cline married her second husband Charlie Dick on September 15, 1957. The pair met in 1956 while Cline was performing with a local Virginia band. At the time, Dick was a linotype operator for local newspaper, The Winchester Star. According to Dick, he had asked Cline to dance and she replied, "I can't dance while I'm working, okay?" They eventually started spending time together and Cline began telling close friends about their relationship. Cline told Grand Ole Opry pianist Del Wood in 1956, "Hoss, I got some news. I met a boy my own age who's a hurricane in pants! Del, I'm in love, and this time, it's for real." The pair had children Julie and Randy together. Their relationship was considered both romantic and tempestuous. According to Robert Oermann and Mary Bufwack, Cline and Dick's marriage was "fueled by alcohol, argument, passion, jealousy, success, tears and laughter." According to biographer Ellis Nassour, the pair fought often but remained together. They had gained a reputation as "heavy drinkers", but according to Dick himself, they were not "drunks". During one particular fight, Cline had Dick arrested after they became physical with one another. Following Cline's death in 1963, Dick married country artist Jamey Ryan in 1965. The pair divorced in the early 1970s after having one child together. Dick helped with keeping Cline's legacy alive for the remainder of his own life. He assisted in producing several documentaries about Cline's career including Remembering Patsy and The Real Patsy Cline. He became involved with Hallway Productions in the 1990s and helped produce videos on other artists including Willie Nelson and The Mamas and the Papas. Dick died in 2015.
Death
On March 3, 1963, Cline performed a benefit at the Soldiers and Sailors Memorial Hall, Kansas City, Kansas, for the family of disc jockey "Cactus" Jack Call; he had died in an automobile crash a little over a month earlier. Also performing in the show were George Jones, George Riddle and The Jones Boys, Billy Walker, Dottie West, Wilma Lee and Stoney Cooper, George McCormick, the Clinch Mountain Boys as well as Cowboy Copas and Hawkshaw Hawkins. Despite having a cold, Cline gave three performances: 2:00, 5:15 and 8:15 pm. All the shows were standing-room only. For the 2 p.m. show, she wore a sky-blue tulle-laden dress; for the 5:15 show a red shocker; and for the closing show at 8 p.m., Cline wore white chiffon. Her final song was the last she had recorded the previous month, "I'll Sail My Ship Alone".
Cline, who had spent the night at the Town House Motor Hotel, was unable to fly out the day after the concert because Fairfax Airport was fogged in. West asked Patsy to ride in the car with her and husband, Bill, back to Nashville, a 16-hour drive, but Cline refused, saying, "Don't worry about me, Hoss. When it's my time to go, it's my time." On March 5, she called her mother from the motel and checked out at 12:30 p.m., going the short distance to the airport and boarding a Piper PA-24 Comanche plane, aircraft registration number N7000P. On board were Cline, Copas, Hawkins and pilot Randy Hughes.
The plane stopped once in Rogers, Arkansas to refuel and subsequently landed at Dyersburg Municipal Airport in Dyersburg, Tennessee at 5 p.m. Hawkins had accepted Billy Walker's place after Walker left on a commercial flight to take care of a stricken family member. The Dyersburg, Tennessee, airfield manager suggested that they stay the night because of high winds and inclement weather, offering them free rooms and meals. But Hughes, who was not trained in instrument flying, said "I've already come this far. We'll be there before you know it." The plane took off at 6:07 p.m.
Cline's flight crashed in heavy weather on the evening of Tuesday, March 5, 1963. Her recovered wristwatch had stopped at 6:20 p.m. The plane was found some from its Nashville destination, in a forest outside of Camden, Tennessee. Forensic examination concluded that everyone aboard had been killed instantly. Until the wreckage was discovered the following dawn and reported on the radio, friends and family had not given up hope. Endless calls tied up the local telephone exchanges to such a degree that other emergency calls had trouble getting through. The lights at the destination Cornelia Fort Airpark were kept on throughout the night, as reports of the missing plane were broadcast on radio and TV.
Early in the morning, Roger Miller and a friend went searching for survivors: "As fast as I could, I ran through the woods screaming their names—through the brush and the trees—and I came up over this little rise, oh, my God, there they were. It was ghastly. The plane had crashed nose down." Shortly after the bodies were removed, looters scavenged the area. Some of the items which were recovered were eventually donated to the Country Music Hall of Fame. Among them were Cline's wristwatch, a Confederate flag cigarette lighter, studded belt and three pairs of gold lamé slippers. Cline's fee in cash from the last performance was never recovered. Per her wishes, Cline's body was brought home for her memorial service, which thousands attended. People jammed against the small tent over her gold casket and the grave to take all the flowers they could reach as keepsakes. She was buried at Shenandoah Memorial Park in her hometown of Winchester, Virginia. Her grave is marked with a bronze plaque, which reads: "Virginia H. Dick ('Patsy Cline' is noted under her name) 'Death Cannot Kill What Never Dies: Love'." A memorial marks the exact place off Mt Carmel Road in Camden, Tennessee, where the plane crashed in the still-remote forest.
Posthumous releases
Music
Since Cline's death, Decca Records (later bought by MCA) has re-released her music which has made her commercially successful posthumously. The Patsy Cline Story was the first compilation album the label released following her death. It included the songs "Sweet Dreams (Of You)" and "Faded Love". Both tracks were released as singles in 1963. "Sweet Dreams" would reach number 5 on the Billboard country charts and 44 on the Hot 100. "Faded Love" would also become a top 10 hit on the Billboard country chart, peaking at number 7 in October 1963. In 1967, Decca released the compilation Patsy Cline's Greatest Hits. The album would not only peak at number 17 on the Billboard country chart, but also certified diamond in sales from the Recording Industry Association of America. In 2005, the Guinness World Book of Records included Greatest Hits for being the longest album on any record chart by any female artist.
Cline's music continued making the charts into the 1980s. Her version of "Always" made the Billboard country chart in 1980. An album of the same was also released in 1980 that peaked within the top 30 on the Billboard Top Country Albums chart. Two overdubbed duets between Cline and Jim Reeves became major hits during this time as well. Following the release of the Loretta Lynn biopic Coal Miner's Daughter (1980), there was renewed interest in Cline's career. Therefore, MCA Records reissued much of Cline's earlier studio and compilation releases. Her 1967 greatest hits album for example was repackaged in 1988 and labeled 12 Greatest Hits. The record reached number 27 on the Top Country Albums list in 1990. The soundtrack for Cline's own film biopic was released concurrently with the movie in 1985. The soundtrack would peak at number 6 on the Billboard country albums chart upon its release.
In 1991, MCA records issued her first box set entitled The Patsy Cline Collection. The album chronicled all of Cline's recorded material for Four Star and Decca Records. The boxed set received positive reviews, notably by Thom Jurek of Allmusic who rated it five out of five stars. Jurek commented, If an artist ever deserved a box set chronicling her entire career, it is Patsy Cline. Having recorded 102 sides between 1955 and her death at the age of 30 in 1963, Cline changed not only country music forever, but affected the world of pop as well. Over four CDs, arranged chronologically, the listener gets treated to a story in the development and maturation of a cultural icon who was at least, in terms of her gift, the equal of her legend. Rolling Stone listed the box set among their "50 Greatest Albums of All-Time". Writer Rob Sheffield called Cline "a badass cowgirl drama queen belts some of the torchiest, weepiest country songs ever, hitting high notes that make you sob into your margarita." The Patsy Cline Collection would reach number 29 on the Billboard country albums chart in January 1992. In 1997, MCA released Live at the Cimarron Ballroom, a rare recording that had recently resurfaced. Jeweler Bill Frazee had originally purchased a tape in 1975 which he discovered included Cline's live recording. The live performance on the record took place in July 1961, following Cline's car accident. She appeared at the Cimarron Ballroom in Tulsa, Oklahoma to give a one-night performance. Included on the record was unreleased live performances and dialog with the audience. The album peaked in the top 40 of the Billboard country albums chart. Cline's former MCA label continues releasing material to this day. Cline is listed among the Recording Industry of America's "Best Selling Artists" with a total of over 14 million records sold to date.
Film and television
Cline has been portrayed on film and television several times since the 1980s. The Loretta Lynn biopic Coal Miner's Daughter (1980) renewed interest in her life and career. Cline and Lynn's friendship was portrayed in the 1980 film. Actress Beverly D'Angelo played Cline in the movie and did her own singing of Cline's original material. D'Angelo earned a Golden Globe award nomination for her role. In an interview D'Angelo did for a 2017 PBS documentary, playing the role of Patsy Cline "had a profound impact" on her life and career.
In 1985, a feature film about Cline's life was released entitled Sweet Dreams. The film starred Jessica Lange as Cline and Ed Harris as husband Charlie Dick. Originally, Meryl Streep auditioned for Cline's role but ultimately lost to Lange. The film was produced by Bernard Schwartz, who also produced Coal Miner's Daughter. Original ideas called for scenes between Cline and Lynn, however they were ultimately removed from the final script. The film has been criticized for its lack of accuracy to Cline's own life and its musical production. Kurt Wolff wrote, "the soundtrack, however, featured overdubbed versions of Cline's material – better to stick with the originals." Mark Deming of Allmovie only gave the release two out of five stars. Deming commented, "While it's a wise approach to show how her turbulent marriage paralleled her crossover to Countrypolitan ballads, the melodrama tends to overshadow the celebrity story by relegating her rise to stardom to the background. Due to the historically dubious concerts at carnivals and fairgrounds, it appears as though she wasn't as big a star as she actually was." Deming did praise Lange's performance saying she created a "cheerful and spirited" depiction of Cline. Roger Ebert gave it two stars in his original 1985 review. Ebert said, "There isn't the sense of a well-shaped structure in this movie; there's no clear idea of what the filmmakers thought about Patsy Cline, or what thoughts her life is supposed to inspire." Lange was nominated for an Academy Award for Best Actress for her role as Cline.
Cline was also portrayed in television films. In 1995, a film about the life and career of Cline's friend Dottie West debuted on CBS titled, Big Dreams and Broken Hearts: The Dottie West Story. It included several scenes that showcased West's friendship with Cline. Actress Tere Myers played her in the television movie. Deborah Wilker of the Sun-Sentinel called her performance "terrific" and authentic.
Lifetime aired an original television film Patsy & Loretta in October 2019 on the network. It chronicles Cline's friendship with Loretta Lynn. Cline is portrayed by Megan Hilty and Lynn by Jessie Mueller. The film is directed by the Academy Award-winning screenwriter Callie Khouri. The trailer for the movie was released in July 2019. Patsy & Loretta was filmed on location in Nashville, Tennessee and is co-produced by Lynn's daughter and Cline's daughter, Julie Fudge.
There have been several documentaries made about Cline's life and career. The first was a 1989 documentary entitled The Real Patsy Cline which featured interviews with friends and fellow artists. This included Carl Perkins and Willie Nelson. Another documentary was filmed in 1994 entitled Remembering Patsy. The show was hosted by country artist Michelle Wright, who read letters Cline wrote to friends and family. It included interviews with several artists such as Roy Clark, George Jones and Trisha Yearwood. Both documentaries were produced by Cline's widower Charlie Dick. In March 2017, PBS released a documentary on Cline as part of their American Masters series. The film was narrated by Rosanne Cash and featured interviews with fans of Cline. These interviews included Beverly D'Angelo and Reba McEntire. It also included rare performances of songs such as "Three Cigarettes (In an Ashtray)" and "Walkin' After Midnight".
Plays and musicals
Cline's life and career has also been re-created in the theater sector. In 1988, the show Always...Patsy Cline premiered. The show was created by Ted Swindley who derived it from a friendship Cline had with Texas resident Louise Seger. The pair met while Cline was performing at the Esquire Ballroom in Houston, Texas. Seger brought Cline home following the show and they spent the night together. The pair would remain in contact through letters before Cline's death. Much of the script relied from letters exchanged between the two during the course of several years. Seger acts as the show's narrator and revisits memories she shared with Cline through their letter exchanges. Among the show's original performers was Mandy Barnett, who debuted the show at the Ryman Auditorium in 1994. Barnett would go on to have a music and performing career. A second musical was later released in 1991 titled A Closer Walk with Patsy Cline. The show was written by Dean Regan and has been called a "musical retelling" of Cline's career.
Artistry
Influences
Cline was influenced by various music artists. Among her earliest influences were pop singers of the 1940s and 1950s. These included Kay Starr, Helen Morgan, Patti Page, and Kate Smith. Patti Page recollected that Cline's husband said to her, "I just wish Patsy could have met you because she just adored you and listened to you all the time and wanted to be like you." Among her primary influences was Kay Starr, of whom Cline was a "fervent devotee" according to The Washington Post. Jack Hurst of the Chicago Tribune remarked that "Her rich, powerful voice, obviously influenced by that of pop's Kay Starr, has continued and perhaps even grown in popularity over the decades." Cline was also attracted to country music radio programs, notably the Grand Ole Opry. According to Mary Bufwack and Robert Oermann, Cline became "obsessed" with the program at a young age. Cline's mother Hilda Hensley commented on her daughter's admiration, "I know she never wanted anything so badly as to be a star on the Grand Ole Opry..." Among performers from the program she admired was Patsy Montana. Cline was also influenced by other types of performers including early rockabilly artist Charline Arthur.
Voice and style
Cline possessed a contralto voice. Time magazine writer Richard Corliss called her voice "bold". Her voice has also been praised for its display of emotion. Kurt Wolff called it one of the most "emotionally expressive voices in modern country music". Tony Gabrielle of the Daily Press wrote that Cline had "a voice of tremendous emotional power." Cline was at times taken by her own emotion. Husband Charlie Dick recounted that Cline's producer Owen Bradley told him to leave a recording session because she was very emotional and he didn't want to disturb the mood. Cline was once quoted in describing the emotion she felt, saying, "Oh Lord, I sing just like I hurt inside."
During her early career, Cline recorded in styles such as gospel, rockabilly, and honky-tonk. These styles she cut for Four Star Records have been considered below the quality of her later work for Decca Records. Steve Leggett of Allmusic commented, Her recordings prior to 1960, though, were something else again, and with the exception of 1956's "Walkin' After Midnight" and perhaps one or two other songs, she seemed reined in and stifled as a singer, even though she was working with the same producer, Owen Bradley, who was to produce her 1960s successes. Oh the difference a song makes, because in the end the material she recorded between 1955 and 1960 – all of which is collected on these two discs – was simply too weak for Cline to turn into anything resembling gold, even with her obvious vocal skills.
Cline's style has been largely associated with the Nashville Sound, a sub-genre of country music that linked traditional lyrics with orchestrated pop music styles. This new sound helped many of her singles to crossover onto the Billboard Hot 100 and gain a larger audience that did not always hear country music. Her producer Owen Bradley built this sound onto her Decca recordings, sensing a potential in her voice that went beyond traditional country music. At first, she resisted the pop-sounding style, but was ultimately convinced to record in this new style. Stephen M. Desuner of Pitchfork explained that Cline has been an identifiable factor with the Nashville Sound: "She essentially rewrote their songs simply by singing them, elevating their words and wringing every one of their rhymes for maximum dramatic potential." Mark Deming of Allmusic commented, "Cline and Bradley didn't invent "countrypolitan," but precious few artists managed to meld the sophistication of pop and the emotional honesty of country as brilliantly as this music accomplishes with seemingly effortless grace, and these songs still sound fresh and brilliantly crafted decades after the fact."
Image
Cline's public image changed during the course of her career. She began her career wearing cowgirl dresses and hats designed by her mother. However, as her music crossed over into pop, she began wearing sequined gowns and cocktail dresses. While she would often wear cowgirl costumes for live performances, she would also wear evening dresses for television and metropolitan performances. For her 1957 performance on Arthur Godfrey's Talent Scouts, the show's producer insisted that Cline wear an evening dress instead of the fringed cowgirl attire she had intended to wear. Her 1962 engagement at the Merri-Mint Theatre in Las Vegas represented this particular image shift. For one of her performances, Cline wore a sequined cocktail dress designed by her mother.
Cline has also been seen as a pioneer for women in country music. She has been cited as an inspiration by many performers in diverse styles of music. Kurt Wolff of Country Music: The Rough Guide said that Cline had an "aggression" and "boisterous attitude" that gained her the respect of her male counterparts. Wolff explained, "She swaggered her way past stereotypes and other forces of resistance, showing the men in charge – and the public in general – that women were more than capable of singing about such hard subjects as divorce and drinking as well as love and understanding. Sean O'Hagan of The Guardian commented that along with Minnie Pearl, Jean Shepard and Kitty Wells, Cline helped prove that country music was not "macho" and that "strong women" could have a "strong voice". In 2013, The Washington Post wrote, "she was what I call a pre-feminist woman. She didn't open doors; she kicked them down." Mary Bufwack and Robert K. Oermann wrote in 2003 that Cline "transformed what it meant to be a female country star".
Legacy
Cline has been cited in both country and pop music as of one of the greatest vocalists of all-time. Her voice has also been called "haunting", "powerful", and "emotional". Cline's emotional expression and delivery of lyrics helped influence various musical genres and artists. With the support of producer Owen Bradley, Cline has been said to "help define" the Nashville Sound style of country music. While the subgenre has received mixed opinions, it has also been said to be a significant part of country music's "authenticity", with Cline being the center focal point of the subgenre. Other artists have noted her impact, including LeAnn Rimes who stated, "I remember my dad telling me to listen to the way she told a story... I remember feeling more emotion when she sang than anyone else I had ever heard." Lucinda Williams commented on Cline's vocal talent in helping define her legacy, stating, "Even though her style is considered country, her delivery is more like a classic pop singer... That's what set her apart from Loretta Lynn or Tammy Wynette. You'd almost think she was classically trained."
Cline has been a major influence on various music artists including Reba McEntire, Loretta Lynn, LeAnn Rimes, k.d. lang, Linda Ronstadt, Trisha Yearwood, Sara Evans, Dottie West, Kacey Musgraves, Margo Price, Cyndi Lauper, Trixie Mattel and Brandi Carlile. Dottie West (also a close friend of Cline's) spoke about her influence on her own career, "I think I was most influenced by Patsy Cline, she said things for people. There was so much feeling in there. In fact, she told me, 'Hoss, if you can't do it with feeling, don't'". In 2019, Sara Evans discussed how Cline has been an influence since she was a young girl, "I learned everything I could learn about her. I tried to mimic her singing to the ‘t’. We grew up singing in bars — my brothers, sisters and I — from the time I was really little. So I started covering every Patsy Cline song. Then when I first got my record deal I came to Winchester to visit a radio station to try to get them to play my song Three Chords and the Truth."
In 1973, Cline was inducted into the Country Music Hall of Fame. With the induction, she became the first solo female artist to be included. In 1977, Cline's friend and mentee Loretta Lynn released a tribute album entitled I Remember Patsy. The record contained covers of Cline's songs, including "Back in Baby's Arms" and "Crazy". The album's lead single was "She's Got You", which would reach the number 1 spot on the Billboard country chart in 1977. In 1995, Cline received a Grammy Lifetime Achievement Award for her legacy and career. Additionally, her hits "I Fall to Pieces" and "Crazy" received inductions into the Grammy Hall of Fame.
In 1993, Cline was included on United States postal stamps as part of their "Legends" series. Other country artists that were included on stamp series were The Carter Family, Hank Williams, and Bob Wills. The stamps were dedicated in an official ceremony at the Grand Ole Opry by Postmaster General Marvin Runyon. In August 1999, Cline received a star on the Hollywood Walk of Fame. The ceremony was attended by her widower Charlie Dick and daughter Julie Fudge. During the 1990s, two of her songs were voted among the "Greatest Juke Box Hits of All-Time". "Crazy" was voted as the number 1 greatest, along with "I Fall to Pieces" ranking at number 17.
Since the late 1990s, she received additional rankings and honors. In 1999, Cline was ranked at number 11 among VH1's list of the "100 Greatest Women of Rock and Roll". In 2003, she was included by Country Music Television on their list of the "40 Greatest Women of Country Music". In 2010, Cline ranked at number 46 on Rolling Stones list of the "100 Greatest Singers of All-Time". The magazine would rank her on their 2017 list of the "100 Greatest Country Artists of All-Time", where she placed at number 12.
Forty years after her death, MCA Nashville released a tribute album entitled Remembering Patsy Cline (2003). A television special also followed around the same time. The album consisted of cover versions of songs taken from Cline's 1967 greatest hits album. It included songs covered by country artists such as Terri Clark and Martina McBride. It also featured artists from other genres such as Michelle Branch, Diana Krall and Patti Griffin.
Cline's hometown of Winchester, Virginia has helped honor her legacy and career. In 1987, the local government approved the placing of markers within the town denoting it as the birthplace of Cline. The same year, a bell tower was erected in her burial location at Shenandoah Memorial Park. The bell tower cost thirty five thousand dollars and was partially funded by Cline's friends Jan Howard and Loretta Lynn. In 2005, Cline's childhood home was given an official on-site marker and included on the National Register of Historic Places. With the development of an organization entitled Celebrating Patsy Cline Inc., renovations began on Cline's childhood home. In August 2011, the Patsy Cline House officially opened as a historic home for tours. In almost three months, about three thousand people visited the home. The home was restored to the era in which Cline lived in it during the 1950s with her mother and siblings. Replicas of furniture and stage clothes are also included. Daughter Julie Fudge spoke of the house in 2011, stating, “I think when you go into the house, you will kind of feel like this is a snapshot of what it would have been like to visit when Mom lived there.”
In 2017, the Patsy Cline Museum opened in Nashville, Tennessee, located at 119 3rd Ave. S., on the second floor in the same building as the Johnny Cash Museum. The museum includes Cline's actual stage costumes, as well as her original scrapbook and record albums. The Patsy Cline Museum features other artifacts, such as the soda fountain machine from Gaunt's Drug Store, where Cline worked as a teenager. Original letters that Cline wrote to friends are also included as part of the museum.
Discography
Studio albums
1957: Patsy Cline
1961: Patsy Cline Showcase
1962: Sentimentally Yours
Posthumous studio albums
1964: A Portrait of Patsy Cline
1964: That's How a Heartache Begins
1980: Always
References
Footnotes
Books
Further reading
Bego, Mark. I Fall to Pieces: The Music and the Life of Patsy Cline. Adams Media Corporation.
Hazen, Cindy and Mike Freeman. Love Always, Patsy. The Berkley Publishing Group.
Jones, Margaret (1998). "Patsy Cline". In The Encyclopedia of Country Music. Paul Kingsbury, Editor. New York: Oxford University Press. pp. 98–9.
Gomery, Douglas Patsy Cline: The Making of an Icon. Trafford Publishing.
External links
Celebrating Patsy Cline an official organization sponsoring several projects
Patsy Cline Home and Museum located in Winchester, Virginia
Patsy Cline recordings at the Discography of American Historical Recordings.
The Patsy Cline Plane Crash
1932 births
1963 deaths
20th-century American composers
20th-century American singers
20th-century American women singers
20th-century women composers
Accidental deaths in Tennessee
American contraltos
American country singer-songwriters
American women composers
American women country singers
American women pop singers
American women singer-songwriters
American rockabilly musicians
Country Music Hall of Fame inductees
Country musicians from Tennessee
Country musicians from Virginia
Cowgirl Hall of Fame inductees
Deaths in Tennessee
Decca Records artists
Four Star Records artists
Grammy Lifetime Achievement Award winners
Grand Ole Opry members
People from Goodlettsville, Tennessee
People from Winchester, Virginia
Rock and roll musicians
Singer-songwriters from Virginia
Torch singers
Traditional pop music singers
Victims of aviation accidents or incidents in 1963
Victims of aviation accidents or incidents in the United States
Musicians killed in aviation accidents or incidents
Singer-songwriters from Tennessee
| false |
[
"Diána Kőszegi (born 1983 in Hungary) is the first Hungarian professional Go player. She became only the sixth European professional when she was promoted to professional by the Korean Go Association on 4 January 2008.\n\nBiography\n\n \nDiána Kőszegi was born in August 1983 in Budapest. She began playing Go at age 9. She was initially taught by her father, Sándor Kőszegi (who teaches Go to elementary schools students). At age 11 she began studying under Tibor Pocsai, the winner of the European Go Championship in 1988. During her study of Go, she also began to teach others. She teaches Go on the KGS Go Server.\n\nIn 1996, she met 9 dan professional Yasutoshi Yasuda, with whom she kept in contact thanks to Shigeno Yuki, a friend who Diána considers as close as a sister. Diána wanted to be Yasuda's pupil, but this was not to be. Yasuda was very busy at that time. Both Yasuda and Yuki were a big influence on her.\n\nWhen she was 14 she came 4th at the 1st World Women Amateur Baduk Championship, held in 1997 in Seoul. In the following autumn, she finished 2nd in the 2nd European Women Amateur Go Championship.\n\nShe came 9th at the female equivalent of the World Amateur Go Championship in 1998, and was invited to Japan and Korea to study as an insei. Considering her young age, her family did not let her go.\n\nIn March 2000, she won the European Youth Go Championship that was held in Sinaia. She came 2nd in the previous two years, and again in 2001. In the same year, even though she finished only joint 8th at the Hungarian Go Championship, winning the play-offs between the top 6, she became the Hungarian Go Champion. She was the first Hungarian invited to professional competitions in China, while still an amateur. Representing Europe, she entered three competitions in 2000 (Shanghai), 2001 (Guiyang), and 2002 (Hong Kong).\n\nSince 2001 she has continued studying Go, without a tutor. In 2001, she stayed in Japan for 1.5 months thanks to the sister and brother Kobayashi Chizu and Kobayashi Satoru. In 2003 she went to the Hungarian university, ELTE. She studied at the programming mathematician department, but she did not complete her course, because of an invitation from the KimWon Baduk Academy, thanks to Mr Eo Jong Soo (7 dan Korean). She got to know him at the World Championship held in Korea in 2003.\n\nShe went to Korea in 2004 for 3 months, but then returned because she could not extend her visa. Until she was promoted to professional, from 2005 as an insei she was competing at the league in Seoul. In 2005, she studied at the Korean Myongji University and started teaching Go on-line. She became the sixth European professional, when she was promoted to professional by the Korean Go Association on 4 January 2008.\n\nShe translated the Go book 21st Century New Openings, by Kim Sung Rae (4 Dan), into English.\n\nPromotion record\n\nSee also \n\n List of Go organizations\n\nReferences\n\nExternal links\n Diána's page on the site of the Korean Baduk Association\n Diána's page on the Hungarian Go Wiki\n\n1983 births\nLiving people\nHungarian Go players\nFemale Go players",
"Pollie Anne Myers-Pinkins (née Myers; July 14, 1932 – March 17, 2003) was an American Civil Rights activist, who along with Autherine Lucy, were the first African Americans admitted to the University of Alabama in 1952.\n\nEarly life\nPinkins was born on July 14, 1932, to Alice Lamb and Henry Myers. She attended the historically black college of Miles College in Fairfield, Alabama.\n\nApplication to the University of Alabama\nOn September 24, 1952 Hudson, and close friend Autherine Lucy, applied to the University of Alabama without indicating their race and were accepted. The idea had been hatched by Pinkins, who convinced the hesitant Lucy to go along with the plot. Lucy later said, \"I thought she was joking at first, I really did.\" The newspaper, the Birmingham World, which Pinkins worked at, celebrated their admission on the front page. Realizing who the applicants were, the University soon began to backtrack. On October 10, 1955 the Supreme Court ordered the University to admit the two women. Over three years later, the University allowed Lucy to attend on the condition that Pinkins could not. They claimed that Pinkins could not attend the school since she was an unsuitable student due to the fact that she had married after she had become pregnant out of wedlock.\n\nPersonal life\nPinkins went on to get a Masters Degree in Education from Wayne State University. Pinkins was married twice. Her second marriage was to Robert Pinkins. She had five children, three sons and two daughters. Myers died in Detroit, Michigan in 2003.\n\nLegacy \nThe Black Alumni Association at the University of Alabama gives out a scholarship called the Pollie Anne Myers-Pinkins AAAN Endowed Scholarship in honor of Pinkins every year.\n\nSee also\n\nReferences\n\n1932 births\n2003 deaths\nCivil rights movement\nMiles College alumni\nUniversity of Alabama alumni"
] |
[
"Patsy Cline",
"Early years",
"Was she musical from childhood?",
"She was the eldest child of seamstress Hilda Virginia (nee Patterson, 1916-1998) and blacksmith Samuel Lawrence Hensley (1889-1956).",
"When did she discover she had talent for singing?",
"When Patsy was 13,",
"When did she start singing professionally?",
"she asked WINC (AM) disc jockey Jimmy McCoy if she could sing on his show. Her performance in 1947 was well received",
"Did that lead to other opportunities?",
"This led to appearances at local nightclubs wearing fringed Western outfits that her mother made from Patsy's designs.",
"What city or town was that in?",
"Cline performed in variety and talent shows in the Winchester and Tri-State areas,",
"What state in Winchester in?",
"I don't know.",
"Did she attract the attention of management when she was playing in those nightclubs?",
"I don't know.",
"Where did she attend school?",
"Cline enrolled at John Handley High School but never attended classes.",
"Did she go on to college?",
"To help her mother support their family, she worked as a soda jerk at Gaunt's Drug Store and a waitress at the Triangle Diner."
] |
C_eb67cd934c274c28837e9c932e60a6af_1
|
Did she marry young?
| 10 |
Did Patsy Cline marry young?
|
Patsy Cline
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Patsy Cline was born Virginia Patterson Hensley on September 8, 1932 in Winchester, Virginia, in the city's Memorial Hospital. She was the eldest child of seamstress Hilda Virginia (nee Patterson, 1916-1998) and blacksmith Samuel Lawrence Hensley (1889-1956). She had a brother Samuel Jr. (1939-2004) and a sister Sylvia. The family moved often before finally settling in Winchester, Virginia when Patsy was 16. Sam Hensley deserted his family in 1947, but the children's home was reportedly happy nonetheless. When Patsy was 13, she was hospitalized with a throat infection and rheumatic fever. She later said, "The fever affected my throat and when I recovered I had this booming voice like Kate Smith." Cline enrolled at John Handley High School but never attended classes. To help her mother support their family, she worked as a soda jerk at Gaunt's Drug Store and a waitress at the Triangle Diner. She watched performers through the window at the local radio station, and she asked WINC (AM) disc jockey Jimmy McCoy if she could sing on his show. Her performance in 1947 was well received and she was asked back. This led to appearances at local nightclubs wearing fringed Western outfits that her mother made from Patsy's designs. Cline performed in variety and talent shows in the Winchester and Tri-State areas, and she gained a large following through the shows and local radio appearances. Jimmy Dean was already a country star in 1954, and she became a regular with him on Connie B. Gay's Town and Country Jamboree radio show on WAVA (AM) in Arlington County, Virginia. CANNOTANSWER
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Patsy Cline (born Virginia Patterson Hensley; September 8, 1932 – March 5, 1963) was an American singer. She is considered one of the most influential vocalists of the 20th century and was one of the first country music artists to successfully cross over into pop music. Cline had several major hits during her eight-year recording career, including two number-one hits on the Billboard Hot Country and Western Sides chart.
Cline's first professional performances began at the local WINC radio station when she was fifteen. In the early 1950s, Cline began appearing in a local band led by performer Bill Peer. Various local appearances led to featured performances on Connie B. Gay's Town and Country television broadcasts. It also led to the signing of her first recording contract with the Four Star label in 1954. She had minor success with her earliest Four Star singles including "A Church, a Courtroom, Then Goodbye" (1955) and "I've Loved and Lost Again" (1956). In 1957 however, Cline made her first national television appearance on Arthur Godfrey's Talent Scouts. After performing "Walkin' After Midnight", the single would become her first major hit on both the country and pop charts.
Cline's further singles with Four Star Records were unsuccessful, although she continued performing and recording. After marrying in 1957 and giving birth in 1958, she moved to Nashville, Tennessee, to further her career. Working with new manager Randy Hughes, Cline would become a member of the Grand Ole Opry and then move to Decca Records in 1960. Under the direction of producer Owen Bradley, her musical sound shifted and she achieved consistent success. The 1961 single "I Fall to Pieces" would become her first to top the Billboard country chart. As the song became a hit, Cline was severely injured in an automobile accident, which caused her to spend a month in the hospital. After she recovered, her next single release "Crazy" would also become a major hit.
Between 1962 and 1963, Cline had hits with "She's Got You", "When I Get Through with You", "So Wrong" and "Leavin' on Your Mind". She also toured and headlined shows with more frequency. In March 1963, Cline was killed in a plane crash along with country performers Cowboy Copas, Hawkshaw Hawkins and manager Randy Hughes, during a flight from Kansas City, Kansas back to Nashville.
Since her death, Cline has been cited as one of the most celebrated, respected and influential performers of the 20th century. Her music has influenced performers of various styles and genres. She has also been seen as a forerunner for women in country music, being among the first to sell records and headline concerts. In 1973, she became the first female performer to be inducted into the Country Music Hall of Fame. In the 1980s, Cline's posthumous successes continued in the mass media. She was portrayed twice in major motion pictures, including the 1985 biopic Sweet Dreams starring Jessica Lange. Several documentaries and stage shows were released during this time, including the 1988 musical Always...Patsy Cline. A 1991 box set of her recordings was issued that received critical acclaim. Her greatest hits album sold over 10 million copies in 2005. In 2011, Cline's childhood home was restored as a museum for visitors and fans to tour. In 2017, Cline’s Dream Home in Nashville, TN was placed on the Tennessee Historical Markers List by the Patsy Cline Fan Home Owners, Steven Shirey and Thomas Corritore.
Early life
Cline was born Virginia Patterson Hensley in Winchester, Virginia on September 8, 1932, to Hilda Virginia (née Patterson; 1916–1998) and Samuel Lawerence Hensley (1889–1956). Mrs. Hensley was only 16 years old at the time of Cline's birth. Sam Hensley had been married before; Cline had two half siblings (aged 12 and 15) that lived with a foster family because of their mother's death years before. After Cline, Hilda Hensley would also have Samuel Jr. (called John) and Sylvia Mae. Besides being called "Virginia" in her childhood, Cline was also referred to as "Ginny". She temporarily lived with her mother's family in Gore, Virginia before relocating many times throughout the state. In her childhood, the family relocated where Samuel Hensley, a blacksmith, could find employment, including Elkton, Staunton, and Norfolk. When the family had little money, she would find work. This included an Elkton poultry factory, where her job was to pluck and cut chickens. The family moved often before finally settling in Winchester, Virginia on South Kent Street. Cline would later report that her father sexually abused her. When confiding about the abuse to friend Loretta Lynn, Cline told her, "take this to your grave". Hilda Hensley would later report details of the abuse to producers of Cline's 1985 biopic Sweet Dreams.
At age 13, Cline was hospitalized with a throat infection and rheumatic fever. Speaking of the incident in 1957 she said, "I developed a terrible throat infection and my heart even stopped beating. The doctor put me in an oxygen tent. You might say it was my return to the living after several days that launched me as a singer. The fever affected my throat and when I recovered I had this booming voice like Kate Smith's." It was during this time she developed an interest in singing. She started performing with her mother in the local Baptist choir. Mother and daughter also performed duets at church social events. She also taught herself how to play the piano.
With the new performing opportunities, Cline's interest in singing only grew further and at the age of 14, she told her mother that she was going to audition for the local radio station. Her first radio performances began at WINC in the Winchester area. According to WINC's radio disc jockey Joltin' Jim McCoy, Cline appeared in the station's waiting room one day and asked to audition. McCoy was impressed by her audition performance, reportedly saying, "Well, if you've got nerve enough to stand before that mic and sing over the air live, I've got nerve enough to let you." While also performing on the radio, Cline also started appearing in talent contests and created a nightclub cabaret act similar to performer Helen Morgan.
Cline's mother and father had marital conflicts during her childhood and by 1947, her father deserted the family. Author Ellis Nassour of the biography Honky Tonk Angel: An Intimate Story of Patsy Cline reported Cline had a "beautiful relationship" with her mother. In his interviews with Hilda Hensley, he quoted Cline's mother in saying they "were more like sisters" than parent and child. Upon entering the ninth grade, Cline enrolled at John Handley High School in Winchester, Virginia. However, the family had trouble sustaining an income after her father's desertion. Therefore, Cline dropped out of high school to help support the family. She began working at Gaunt's Drug Store in the Winchester area as a clerk and soda jerk.
Career
1948–1953: Early career
At age 15, Cline wrote a letter to the Grand Ole Opry asking for an audition. She told local photographer Ralph Grubbs about the letter, "A friend thinks I'm crazy to send it. What do you think?" Grubbs encouraged Cline to send it. Several weeks later, she received a return letter from the Opry asking for pictures and recordings. At the same time, Gospel performer Wally Fowler headlined a concert in her hometown. Cline convinced concert employees to let her backstage where she asked Fowler for an audition. Following a successful audition, Cline's family received a call asking for her to audition for the Opry. She traveled with her mother, two siblings, and a family friend on an eight-hour journey to Nashville, Tennessee. With limited finances, they drove overnight and slept in a Nashville park the following morning. Cline auditioned for Opry performer Moon Mullican the same day. The audition was well-received and Cline expected to hear from the Opry the same day. However, she never received news and the family returned to Virginia.
By the early 1950s, Cline continued performing around the local area. In 1952, she asked to audition for local country bandleader Bill Peer. Following her audition, she began performing regularly as a member of Bill Peer's Melody Boys and Girls. The pair's relationship turned romantic, continuing an affair for several years. Nonetheless, the pair remained married to their spouses. Peer's group played primarily at the Moose Lodge in Brunswick, Maryland where she would meet her first husband, Gerald Cline. Peer encouraged her to have a more appropriate stage name. She changed her first name from Virginia to Patsy (taken from her middle name "Patterson"). She kept her new last name, Cline. Ultimately, she became professionally known as "Patsy Cline".
In August 1953, Cline was a contestant in a local country music contest. She won 100 dollars and the opportunity to perform as a regular on Connie B. Gay's Town and Country Time. The show included country stars Jimmy Dean, Roy Clark, George Hamilton IV and Billy Grammer, and was filmed in Washington D.C. and Arlington, Virginia. She was not officially added to the program's television shows until October 1955. Cline's television performances received critical acclaim. The Washington Star magazine praised her stage presence, commenting, "She creates the moods through movement of her hands and body and by the lilt of her voice, reaching way down deep in her soul to bring forth the melody. Most female country music vocalists stand motionless, sing with monotonous high-pitched nasal twang. Patsy's come up with a throaty style loaded with motion and E-motion."
1954–1960: Four Star Records
In 1954, Bill Peer created and distributed a series of demonstration tapes with Cline's voice on it. A tape was brought to the attention of Bill McCall, president of Four Star Records. On September 30, 1954, she signed a two-year recording contract with the label alongside Peer and her husband Gerald Cline. The original contract allowed Four Star to receive most of the money for the songs she recorded. Therefore, Cline received little of the royalties from the label, totaling out to 2.34 percent on her recording contract. Her first recording session took place in Nashville, Tennessee on January 5, 1955. Songs for the session were handpicked by McCall and Paul Cohen. Four Star leased the recordings to the larger Decca Records. For those reasons Owen Bradley was chosen as the session's producer, a professional relationship that would continue into the 1960s. Her first single release was 1955's "A Church, a Courtroom, Then Goodbye". Although Cline promoted it with an appearance on the Grand Ole Opry the song was not successful.
Cline recorded a variety of musical styles while recording for Four Star. This included genres such as gospel, rockabilly, traditional country and pop. Writers and music journalists have had mixed beliefs on Cline's Four Star material. Robert Oermann and Mary Bufwack of Finding Her Voice: Women in Country Music called the label's choice of material "mediocre". They also commented that Cline seemed to have "groped for her own sound on the label". Kurt Wolff of Country Music the Rough Guide commented that the music was "sturdy enough, but they only hinted at the potential that lurked inside her. Richie Unterberger of Allmusic claimed it was Cline's voice that made the Four Star material less appealing: "Circumstances were not wholly to blame for Cline's commercial failures. She would have never made it as a rockabilly singer, lacking the conviction of Wanda Jackson or the spunk of Brenda Lee. In fact, in comparison with her best work, she sounds rather stiff and ill-at-ease on most of her early singles."
Between 1955 and 1956, Cline's four singles for Four Star failed to become hits. However, she continued performing regionally, including on the Town and Country Jamboree. In 1956, she appeared on ABC's Country Music Jubilee, Ozark Jubilee. It was at one of her local performances that she met her second husband, Charlie Dick. In 1956, Cline received a call to perform on Arthur Godfrey's Talent Scouts, a national television show she had auditioned for several months prior. She accepted the offer, using her mother Hilda Hensley as her talent scout for the show. According to the show's rules, talent scouts could not be family members. For those reasons, Cline's mother lied in order to appear on the show. When Arthur Godfrey asked if Hensley had known Cline her entire life, she replied, "Yes, just about!"
Cline and Mrs. Hensley flew into LaGuardia Airport in New York City on January 18, 1957. She made her debut appearance on the program on January 21. The day of the show, she met with the show's producer Janette Davis. Cline had chosen "A Poor Man's Roses (Or a Rich Man's Gold)" to perform on the program, but Davis preferred another song she had recorded, "Walkin' After Midnight". Cline initially refused to perform it, but ultimately agreed to it. Davis also suggested Cline wear a cocktail dress instead of the cowgirl outfit created by her mother. She performed "Walkin' After Midnight" and won the program's contest that night. The song had not yet been released as a single. In order to keep up with public demand, Decca Records rush-released the song as a single on February 11. The song ultimately became Cline's breakthrough hit, peaking at number 2 on the Billboard Hot Country and Western Sides chart. The song also reached number 12 on the Billboard pop music chart. The song has since been considered a classic in country music since its release.
Music critics and writers have positively praised "Walkin' After Midnight". Mary Bufwack and Robert Oermann called the song "bluesy". Richie Unterberger noted "it's well-suited for the almost bemused aura of loneliness of the lyric." The success of "Walkin' After Midnight" brought Cline numerous appearances on shows and major networks. She continued working for Arthur Godfrey over the next several months. She also appeared on the Grand Ole Opry in February and the television program Western Ranch Party in March. The money she had earned from her numerous engagements totaled out to ten thousand dollars. Cline gave all the money to her mother, which she used to the pay the mortgage on her Winchester house. In August 1957, her debut studio album was issued via Decca Records.
Cline's follow-up singles to "Walkin' After Midnight" did not yield any success. This was partially due to the quality of material chosen for her to record. Cline was dissatisfied with the limited success following "Walkin' After Midnight". Bradley recounted how she often came to him saying, "Hoss, can't you do something? I feel like a prisoner." Around the same time, Cline was fired from her regular slot on Town and Country Jamboree. According to Connie B. Gay, she ran late for shows and "showed up with liquor on her breath". In September 1957, Cline married Charlie Dick and he was soon sent to Fort Bragg, North Carolina on a military assignment. Cline also gave birth to her first daughter Julie. In hopes of restarting her career, Cline and her family moved to Nashville, Tennessee.
1960–1961: New beginnings and car accident
Cline's professional decisions yielded more positive results by the early 1960s. Upon moving to Nashville, she signed a management deal with Randy Hughes. She originally wished to work with Hubert Long, however, he was busy managing other artists. Instead, she turned her attention to Hughes. With the help of Hughes, she began working steadier jobs. He organized fifty dollar bookings and got her multiple performances on the Grand Ole Opry. In January 1960, Cline officially became a member of the Opry. When she asked general manager Ott Devine about a membership he replied, "Patsy, if that's all you want, you're on the Opry." Also in January 1960, Cline made her final recording sessions set forth in her contract with Four Star Records. Later that year, her final singles with the label were released: "Lovesick Blues" and "Crazy Dreams". Leaving Four Star, Cline officially signed with Decca Records in late 1960, working exclusively under Bradley's direction. Insisting on receiving an advance, she received $1,000 from Bradley once she began at the label.
Her first release under Decca was 1961's "I Fall to Pieces". The song was written by newly established Nashville songwriters Hank Cochran and Harlan Howard. "I Fall to Pieces" had first been turned down by Roy Drusky and Brenda Lee before Cline cut it in November 1960. At the recording session, she worried about the song's production, particularly the background vocals performed by The Jordanaires. After much arguing between both Cline and Bradley, they negotiated that she would record "I Fall to Pieces" (a song Bradley favored) and "Lovin' in Vain" (a song she favored). Released as a single in January 1961, "I Fall to Pieces" attracted little attention upon its initial issue. In April, the song debuted on the Hot Country and Western Sides chart. By August 7, the song became her first to top the country chart. Additionally, "I Fall to Pieces" crossed over onto the Billboard Pop chart, peaking at number 12.
On June 14, 1961, Cline and her brother Sam Hensley, Jr. were involved in an automobile accident. Cline had brought her mother, sister and brother to see her new Nashville home the day before. On the day of the accident, Cline and her brother went shopping to buy material for her mother to make clothing. Upon driving home, their car was struck head-on by another vehicle. The impact threw her directly into the car windshield, causing extensive facial injuries. Among her injuries, Cline suffered a broken wrist, dislocated hip and a large cut across her forehead, barely missing her eyes. Friend Dottie West heard about the accident via the radio and rushed to the scene, helping to remove pieces of broken glass from Cline's hair. When first responders arrived, Cline insisted the driver in the other vehicle be treated first. Two of the three passengers riding in the car that struck Cline died after arriving at the hospital. When she was brought to the hospital, her injuries were life-threatening and she was not expected to live. She underwent surgery and survived. According to her husband Charlie Dick, upon waking up she said to him, "Jesus was here, Charlie. Don't worry. He took my hand and told me, 'No, not now. I have other things for you to do.'" She spent a month recovering in the hospital.
1961–1963: Career peak
Cline returned to her career six weeks after her 1961 car accident. Her first public appearance was on the Grand Ole Opry where she assured fans she would continue performing. She said to the audience that night, "You're wonderful. I'll tell you one thing: the greatest gift, I think, that you folks coulda given me was the encouragement that you gave me. Right at the very time I needed you the most, you came through with the flying-est colors. And I just want to say you'll just never know how happy you made this ol' country gal." Cline's follow-up single to "I Fall to Pieces" was the song "Crazy". It was written by Willie Nelson, whose version of the song was first heard by Dick. When Dick brought the song to Cline she did not like it. When Dick encouraged her to record "Crazy", Cline replied, "I don't care what you say. I don't like it and I ain't gonna record it. And that's that." Bradley liked the song and set the date for its recording for August 17. When Cline got to Bradley's studio, he convinced her to record it. She listened to Nelson's version of "Crazy" and decided she was going to perform it differently. Nelson's version included a spoken section that Cline removed. She cut additional material on August 17 and when she got to "Crazy", it became difficult to perform. Because Cline was still recovering from the accident, performing the song's high notes caused rib pain. Giving her time to rest, Bradley sent her home while musicians laid down the track without her. A week later she returned and recorded her vocal in a single take.
"Crazy" was released as a single in October 1961, debuting on the Billboard country charts in November. It would peak at number 2 there and number 9 on the same publication's pop charts. "Crazy" would also become Cline's biggest pop hit. "Crazy" has since been called a country music standard. Cline's vocal performance and the song's production have received positive praise over time. Cub Koda of AllMusic noted the "ache" in her voice that makes the song stand out: "Cline's reading of the lyric is filled with an aching world weariness that transforms the tune into one of the first big crossover hits without even trying hard." Country music historian Paul Kingsbury also highlighted her "ache", saying in 2007, "Cline's hit recording swings with such velvety finesse, and her voice throbs and aches so exquisitely, that the entire production sounds absolutely effortless." Jhoni Jackon of Paste Magazine called the recording "iconic", highlighting the "pain" Cline had in her vocal technique. Her second studio album Patsy Cline Showcase was released in late 1961. The album featured both major hits from that year and re-recorded versions of "Walkin' After Midnight" and "A Poor Man's Roses (Or a Rich Man's Gold)".
"Crazy" and Cline's further Decca recordings have received critical praise. Mary Bufwack and Robert Oermann noted "Her thrilling voice invariably invested these with new depth. Patsy's dramatic volume control, stretched-note effects, sobs, pauses and unique ways of holding back, then bursting into full-throated phrases also breathed new life into country chestnuts like "San Antonio Rose", "Blue Moon of Kentucky" and "Half as Much". Richie Unterberger of AllMusic commented that her voice "sounded richer, more confident, and more mature, with ageless wise and vulnerable qualities that have enabled her records to maintain their appeal with subsequent generations." Kurt Wolff of Country Music the Rough Guide reported that Owen Bradley recognized potential in Cline's and once he gained studio control, he smoothed arrangements and "refine her voice into an instrument of torch-singing glory."
In November 1961, she was invited to perform as part of the Grand Ole Opry's show at Carnegie Hall in New York City. She was joined by Opry stars Minnie Pearl, Grandpa Jones, Jim Reeves, Bill Monroe, Marty Robbins, and Faron Young. Despite positive reviews, New York Journal-American columnist Dorothy Kilgallen commented, "everybody should get out of town because the hillbillies are coming!" The comment upset Cline and did not affect ticket sales. The Opry performance would later be sold out. By the end of year, Cline had won several major industry awards including "Favorite Female Vocalist" from Billboard Magazine and Cashbox Magazines "Most Programmed Female Artist". Also in 1961, Cline was back in the studio to record an upcoming album. Among the first songs she recorded was "She's Got You". Written by Hank Cochran, he pitched the song to Cline over the phone. Insisting to hear it in-person, Cochran brought the recording over to her house, along with a bottle of alcohol. Upon listening to it again, she liked the song and wanted to record it. Owen Bradley also liked the song and it was officially recorded on December 17, 1961. "She's Got You" became her third country-pop crossover hit by early 1962. "She's Got You" would also be her second number 1 hit on the Billboard country chart. It was also Cline's first entry in the United Kingdom singles chart, reaching number 43. The cover by Alma Cogan, one of Britain's most popular female artists of the 1950s, performed notably as well.
In 1962, Cline had three major hits with "When I Get Through with You", "So Wrong" and "Imagine That". Cline's career successes helped her become financially stable enough to purchase her first home. She bought a ranch house located Goodlettsville, Tennessee, a suburb of Nashville. The home was decorated by Cline and included a music room, several bedrooms and a large backyard. According to Dottie West, "the house was her mansion, the sign she'd arrived." Cline called it her "dream home" and often had friends over to visit. After her death, the house was sold to country artist Wilma Burgess. In the summer of 1962, manager Randy Hughes got her a role in a country music vehicle film. It also starred Dottie West, Webb Pierce and Sonny James. After arriving to film in DeLand, Florida, the producer had "ran off with the money", according to West. The movie was never made. In August, her third studio album Sentimentally Yours was released. It featured "She's Got You" as well as several country and pop standards. According to biographer Ellis Nassour, her royalties "were coming in slim" and she needed "financial security". Therefore, Randy Hughes arranged Cline to work at the Merri-Mint Theatre in Las Vegas, Nevada for 35 days. Cline would later dislike the experience. During the engagement, she developed a dry throat. She also was homesick and wanted to spend time with her children. By appearing at the engagement, Cline became the first female country artist to headline her own show in Las Vegas.
During this period Cline was said to have experienced premonitions of her own death. Dottie West, June Carter Cash, and Loretta Lynn recalled Cline telling them she felt a sense of impending doom and did not expect to live much longer. In letters, she would also describe the happiness of her new career successes. In January 1963, her next single "Leavin' on Your Mind" was released and debuted on the Billboard country chart soon after. In February, she recorded her final sessions for Decca Records. Among the songs recorded were "Sweet Dreams", "He Called Me Baby", and "Faded Love". Cline arranged for friends Jan Howard and Dottie West to come and hear the session playbacks. According to Howard, "I was in awe of Patsy. You know, afterward you're supposed to say something nice. I couldn't talk. I was dumbfounded."
Personal life
Friendships
Cline had close friendships with several country artists and performers. Her friendship with Loretta Lynn has been the subject of numerous books, songs, films and other projects. The pair first met when Lynn performed "I Fall to Pieces" on the radio shortly after Cline's 1961 car accident. Cline heard the broadcast and sent her husband to pick up Lynn so they could meet. According to Lynn, the pair became close friends "right away". Lynn later described their friendship in detail, "She taught me a lot about show business, like how to go on a stage and how to get off. She even bought me a lot of clothes...She even bought me curtains and drapes for my house because I was too broke to buy them...She was a great human being and a great friend." Lynn also noted they became so close that Cline even gave her underwear. Lynn still has the underwear in storage, saying it was "well-made".
Dottie West was another female country artist with whom Cline became friends. They first met backstage at the Grand Ole Opry. West wrote Cline a fan letter after hearing her first hit "Walkin' After Midnight". According to West, Cline "showed a genuine interest in her career" and they became close friends. The pair often spent time at their homes and worked on packaged tour dates together. West also stated Cline was a supportive friend who helped out in times of need.
Jan Howard was a third female artist with whom Cline had a close friendship. The pair first met when Cline tried starting an argument with Howard backstage at the Grand Ole Opry. She said to Howard, "You're a conceited little son of a bitch! You just go out there, do your spot, and leave without saying hello to anyone." Howard was upset and replied angrily back. Cline then laughed and said, "Slow down! Hoss, you're all right. Anybody that'll stand there and talk back to the Cline like that is all right...I can tell we're gonna be good friends!" The pair remained close for the remainder of Cline's life. Other friendships Cline had with female artists included Brenda Lee, Barbara Mandrell and pianist Del Wood. She also became friends with male country artists including Roger Miller, who helped Cline find material to record. Faron Young was another male artist whom Cline befriended from working on tour together. While on tour, the pair would spend time together, including a trip to Hawaii where the pair saw a hula show.
Family
Cline's mother Hilda Hensley continued living in Winchester, Virginia following her daughter's death. She rented out the family's childhood home on South Kent Street and lived across the street. Following Cline's death, Hensley briefly spent time raising her two grandchildren in Virginia. Hensley maintained a closet full of her daughter's stage costumes, including a sequined dress Cline wore while performing in Las Vegas in 1962. She worked as a seamstress and made many of her daughter's stage costumes. Hensley died from natural causes in 1998. Cline's father Samuel Hensley died of lung cancer in 1956. Hensley had previously deserted the family in 1947 and shortly before his death, Cline and her mother visited him at a hospital in Martinsburg, West Virginia. After discovering his current state, Cline said to her mother, "Mama, I know what-all he did, but it seems he's real sick and may not make it. In spite of everything, I want to visit him." Both of Cline's surviving siblings fought in court over their mother's estate. Because of legal fees, many of Cline's possessions were sold at auction.
Cline had two surviving children at the time of her death: Julie Simadore (born 1958) and Allen Randolph "Randy" (born 1961). Julie has been a significant factor in keeping her mother's legacy alive. She has appeared at numerous public appearances in support of her mother's music and career. Following the death of her father in 2015, she helped open a museum dedicated to Cline in Nashville, Tennessee. Julie has few memories of her mother due to Cline's death while she was young. In an interview with People Magazine, Julie discussed her mother's legacy, "I do understand her position in history, and the history of Nashville and country music...I'm still kind of amazed at it myself, because there's 'Mom' and then there's 'Patsy Cline,' and I'm actually a fan."
The present day American female blues, swing, and rock and roll singer, songwriter and record producer, Casey Hensley, is a distant relation of Cline's.
Marriages
Cline was married twice. Her first marriage was to Gerald Cline, on March 7, 1953. His family had owned a contracting and excavating company in Frederick, Maryland. According to Cline's brother Sam, he liked "flashy cars and women." The two met while she was performing with Bill Peer at the Moose Lodge in Brunswick, Maryland. According to Gerald Cline, "It might not have been love at first sight when Patsy saw me, but it was for me." Gerald Cline often took her to "one-nighters" and other concerts she performed in. Although he enjoyed her performances, he could not get used to her touring and road schedule. Patsy had told a friend during their marriage that she didn't think she "knew what love was" upon marrying Gerald. The pair began living separately by the end of 1956 and divorced in 1957.
Cline married her second husband Charlie Dick on September 15, 1957. The pair met in 1956 while Cline was performing with a local Virginia band. At the time, Dick was a linotype operator for local newspaper, The Winchester Star. According to Dick, he had asked Cline to dance and she replied, "I can't dance while I'm working, okay?" They eventually started spending time together and Cline began telling close friends about their relationship. Cline told Grand Ole Opry pianist Del Wood in 1956, "Hoss, I got some news. I met a boy my own age who's a hurricane in pants! Del, I'm in love, and this time, it's for real." The pair had children Julie and Randy together. Their relationship was considered both romantic and tempestuous. According to Robert Oermann and Mary Bufwack, Cline and Dick's marriage was "fueled by alcohol, argument, passion, jealousy, success, tears and laughter." According to biographer Ellis Nassour, the pair fought often but remained together. They had gained a reputation as "heavy drinkers", but according to Dick himself, they were not "drunks". During one particular fight, Cline had Dick arrested after they became physical with one another. Following Cline's death in 1963, Dick married country artist Jamey Ryan in 1965. The pair divorced in the early 1970s after having one child together. Dick helped with keeping Cline's legacy alive for the remainder of his own life. He assisted in producing several documentaries about Cline's career including Remembering Patsy and The Real Patsy Cline. He became involved with Hallway Productions in the 1990s and helped produce videos on other artists including Willie Nelson and The Mamas and the Papas. Dick died in 2015.
Death
On March 3, 1963, Cline performed a benefit at the Soldiers and Sailors Memorial Hall, Kansas City, Kansas, for the family of disc jockey "Cactus" Jack Call; he had died in an automobile crash a little over a month earlier. Also performing in the show were George Jones, George Riddle and The Jones Boys, Billy Walker, Dottie West, Wilma Lee and Stoney Cooper, George McCormick, the Clinch Mountain Boys as well as Cowboy Copas and Hawkshaw Hawkins. Despite having a cold, Cline gave three performances: 2:00, 5:15 and 8:15 pm. All the shows were standing-room only. For the 2 p.m. show, she wore a sky-blue tulle-laden dress; for the 5:15 show a red shocker; and for the closing show at 8 p.m., Cline wore white chiffon. Her final song was the last she had recorded the previous month, "I'll Sail My Ship Alone".
Cline, who had spent the night at the Town House Motor Hotel, was unable to fly out the day after the concert because Fairfax Airport was fogged in. West asked Patsy to ride in the car with her and husband, Bill, back to Nashville, a 16-hour drive, but Cline refused, saying, "Don't worry about me, Hoss. When it's my time to go, it's my time." On March 5, she called her mother from the motel and checked out at 12:30 p.m., going the short distance to the airport and boarding a Piper PA-24 Comanche plane, aircraft registration number N7000P. On board were Cline, Copas, Hawkins and pilot Randy Hughes.
The plane stopped once in Rogers, Arkansas to refuel and subsequently landed at Dyersburg Municipal Airport in Dyersburg, Tennessee at 5 p.m. Hawkins had accepted Billy Walker's place after Walker left on a commercial flight to take care of a stricken family member. The Dyersburg, Tennessee, airfield manager suggested that they stay the night because of high winds and inclement weather, offering them free rooms and meals. But Hughes, who was not trained in instrument flying, said "I've already come this far. We'll be there before you know it." The plane took off at 6:07 p.m.
Cline's flight crashed in heavy weather on the evening of Tuesday, March 5, 1963. Her recovered wristwatch had stopped at 6:20 p.m. The plane was found some from its Nashville destination, in a forest outside of Camden, Tennessee. Forensic examination concluded that everyone aboard had been killed instantly. Until the wreckage was discovered the following dawn and reported on the radio, friends and family had not given up hope. Endless calls tied up the local telephone exchanges to such a degree that other emergency calls had trouble getting through. The lights at the destination Cornelia Fort Airpark were kept on throughout the night, as reports of the missing plane were broadcast on radio and TV.
Early in the morning, Roger Miller and a friend went searching for survivors: "As fast as I could, I ran through the woods screaming their names—through the brush and the trees—and I came up over this little rise, oh, my God, there they were. It was ghastly. The plane had crashed nose down." Shortly after the bodies were removed, looters scavenged the area. Some of the items which were recovered were eventually donated to the Country Music Hall of Fame. Among them were Cline's wristwatch, a Confederate flag cigarette lighter, studded belt and three pairs of gold lamé slippers. Cline's fee in cash from the last performance was never recovered. Per her wishes, Cline's body was brought home for her memorial service, which thousands attended. People jammed against the small tent over her gold casket and the grave to take all the flowers they could reach as keepsakes. She was buried at Shenandoah Memorial Park in her hometown of Winchester, Virginia. Her grave is marked with a bronze plaque, which reads: "Virginia H. Dick ('Patsy Cline' is noted under her name) 'Death Cannot Kill What Never Dies: Love'." A memorial marks the exact place off Mt Carmel Road in Camden, Tennessee, where the plane crashed in the still-remote forest.
Posthumous releases
Music
Since Cline's death, Decca Records (later bought by MCA) has re-released her music which has made her commercially successful posthumously. The Patsy Cline Story was the first compilation album the label released following her death. It included the songs "Sweet Dreams (Of You)" and "Faded Love". Both tracks were released as singles in 1963. "Sweet Dreams" would reach number 5 on the Billboard country charts and 44 on the Hot 100. "Faded Love" would also become a top 10 hit on the Billboard country chart, peaking at number 7 in October 1963. In 1967, Decca released the compilation Patsy Cline's Greatest Hits. The album would not only peak at number 17 on the Billboard country chart, but also certified diamond in sales from the Recording Industry Association of America. In 2005, the Guinness World Book of Records included Greatest Hits for being the longest album on any record chart by any female artist.
Cline's music continued making the charts into the 1980s. Her version of "Always" made the Billboard country chart in 1980. An album of the same was also released in 1980 that peaked within the top 30 on the Billboard Top Country Albums chart. Two overdubbed duets between Cline and Jim Reeves became major hits during this time as well. Following the release of the Loretta Lynn biopic Coal Miner's Daughter (1980), there was renewed interest in Cline's career. Therefore, MCA Records reissued much of Cline's earlier studio and compilation releases. Her 1967 greatest hits album for example was repackaged in 1988 and labeled 12 Greatest Hits. The record reached number 27 on the Top Country Albums list in 1990. The soundtrack for Cline's own film biopic was released concurrently with the movie in 1985. The soundtrack would peak at number 6 on the Billboard country albums chart upon its release.
In 1991, MCA records issued her first box set entitled The Patsy Cline Collection. The album chronicled all of Cline's recorded material for Four Star and Decca Records. The boxed set received positive reviews, notably by Thom Jurek of Allmusic who rated it five out of five stars. Jurek commented, If an artist ever deserved a box set chronicling her entire career, it is Patsy Cline. Having recorded 102 sides between 1955 and her death at the age of 30 in 1963, Cline changed not only country music forever, but affected the world of pop as well. Over four CDs, arranged chronologically, the listener gets treated to a story in the development and maturation of a cultural icon who was at least, in terms of her gift, the equal of her legend. Rolling Stone listed the box set among their "50 Greatest Albums of All-Time". Writer Rob Sheffield called Cline "a badass cowgirl drama queen belts some of the torchiest, weepiest country songs ever, hitting high notes that make you sob into your margarita." The Patsy Cline Collection would reach number 29 on the Billboard country albums chart in January 1992. In 1997, MCA released Live at the Cimarron Ballroom, a rare recording that had recently resurfaced. Jeweler Bill Frazee had originally purchased a tape in 1975 which he discovered included Cline's live recording. The live performance on the record took place in July 1961, following Cline's car accident. She appeared at the Cimarron Ballroom in Tulsa, Oklahoma to give a one-night performance. Included on the record was unreleased live performances and dialog with the audience. The album peaked in the top 40 of the Billboard country albums chart. Cline's former MCA label continues releasing material to this day. Cline is listed among the Recording Industry of America's "Best Selling Artists" with a total of over 14 million records sold to date.
Film and television
Cline has been portrayed on film and television several times since the 1980s. The Loretta Lynn biopic Coal Miner's Daughter (1980) renewed interest in her life and career. Cline and Lynn's friendship was portrayed in the 1980 film. Actress Beverly D'Angelo played Cline in the movie and did her own singing of Cline's original material. D'Angelo earned a Golden Globe award nomination for her role. In an interview D'Angelo did for a 2017 PBS documentary, playing the role of Patsy Cline "had a profound impact" on her life and career.
In 1985, a feature film about Cline's life was released entitled Sweet Dreams. The film starred Jessica Lange as Cline and Ed Harris as husband Charlie Dick. Originally, Meryl Streep auditioned for Cline's role but ultimately lost to Lange. The film was produced by Bernard Schwartz, who also produced Coal Miner's Daughter. Original ideas called for scenes between Cline and Lynn, however they were ultimately removed from the final script. The film has been criticized for its lack of accuracy to Cline's own life and its musical production. Kurt Wolff wrote, "the soundtrack, however, featured overdubbed versions of Cline's material – better to stick with the originals." Mark Deming of Allmovie only gave the release two out of five stars. Deming commented, "While it's a wise approach to show how her turbulent marriage paralleled her crossover to Countrypolitan ballads, the melodrama tends to overshadow the celebrity story by relegating her rise to stardom to the background. Due to the historically dubious concerts at carnivals and fairgrounds, it appears as though she wasn't as big a star as she actually was." Deming did praise Lange's performance saying she created a "cheerful and spirited" depiction of Cline. Roger Ebert gave it two stars in his original 1985 review. Ebert said, "There isn't the sense of a well-shaped structure in this movie; there's no clear idea of what the filmmakers thought about Patsy Cline, or what thoughts her life is supposed to inspire." Lange was nominated for an Academy Award for Best Actress for her role as Cline.
Cline was also portrayed in television films. In 1995, a film about the life and career of Cline's friend Dottie West debuted on CBS titled, Big Dreams and Broken Hearts: The Dottie West Story. It included several scenes that showcased West's friendship with Cline. Actress Tere Myers played her in the television movie. Deborah Wilker of the Sun-Sentinel called her performance "terrific" and authentic.
Lifetime aired an original television film Patsy & Loretta in October 2019 on the network. It chronicles Cline's friendship with Loretta Lynn. Cline is portrayed by Megan Hilty and Lynn by Jessie Mueller. The film is directed by the Academy Award-winning screenwriter Callie Khouri. The trailer for the movie was released in July 2019. Patsy & Loretta was filmed on location in Nashville, Tennessee and is co-produced by Lynn's daughter and Cline's daughter, Julie Fudge.
There have been several documentaries made about Cline's life and career. The first was a 1989 documentary entitled The Real Patsy Cline which featured interviews with friends and fellow artists. This included Carl Perkins and Willie Nelson. Another documentary was filmed in 1994 entitled Remembering Patsy. The show was hosted by country artist Michelle Wright, who read letters Cline wrote to friends and family. It included interviews with several artists such as Roy Clark, George Jones and Trisha Yearwood. Both documentaries were produced by Cline's widower Charlie Dick. In March 2017, PBS released a documentary on Cline as part of their American Masters series. The film was narrated by Rosanne Cash and featured interviews with fans of Cline. These interviews included Beverly D'Angelo and Reba McEntire. It also included rare performances of songs such as "Three Cigarettes (In an Ashtray)" and "Walkin' After Midnight".
Plays and musicals
Cline's life and career has also been re-created in the theater sector. In 1988, the show Always...Patsy Cline premiered. The show was created by Ted Swindley who derived it from a friendship Cline had with Texas resident Louise Seger. The pair met while Cline was performing at the Esquire Ballroom in Houston, Texas. Seger brought Cline home following the show and they spent the night together. The pair would remain in contact through letters before Cline's death. Much of the script relied from letters exchanged between the two during the course of several years. Seger acts as the show's narrator and revisits memories she shared with Cline through their letter exchanges. Among the show's original performers was Mandy Barnett, who debuted the show at the Ryman Auditorium in 1994. Barnett would go on to have a music and performing career. A second musical was later released in 1991 titled A Closer Walk with Patsy Cline. The show was written by Dean Regan and has been called a "musical retelling" of Cline's career.
Artistry
Influences
Cline was influenced by various music artists. Among her earliest influences were pop singers of the 1940s and 1950s. These included Kay Starr, Helen Morgan, Patti Page, and Kate Smith. Patti Page recollected that Cline's husband said to her, "I just wish Patsy could have met you because she just adored you and listened to you all the time and wanted to be like you." Among her primary influences was Kay Starr, of whom Cline was a "fervent devotee" according to The Washington Post. Jack Hurst of the Chicago Tribune remarked that "Her rich, powerful voice, obviously influenced by that of pop's Kay Starr, has continued and perhaps even grown in popularity over the decades." Cline was also attracted to country music radio programs, notably the Grand Ole Opry. According to Mary Bufwack and Robert Oermann, Cline became "obsessed" with the program at a young age. Cline's mother Hilda Hensley commented on her daughter's admiration, "I know she never wanted anything so badly as to be a star on the Grand Ole Opry..." Among performers from the program she admired was Patsy Montana. Cline was also influenced by other types of performers including early rockabilly artist Charline Arthur.
Voice and style
Cline possessed a contralto voice. Time magazine writer Richard Corliss called her voice "bold". Her voice has also been praised for its display of emotion. Kurt Wolff called it one of the most "emotionally expressive voices in modern country music". Tony Gabrielle of the Daily Press wrote that Cline had "a voice of tremendous emotional power." Cline was at times taken by her own emotion. Husband Charlie Dick recounted that Cline's producer Owen Bradley told him to leave a recording session because she was very emotional and he didn't want to disturb the mood. Cline was once quoted in describing the emotion she felt, saying, "Oh Lord, I sing just like I hurt inside."
During her early career, Cline recorded in styles such as gospel, rockabilly, and honky-tonk. These styles she cut for Four Star Records have been considered below the quality of her later work for Decca Records. Steve Leggett of Allmusic commented, Her recordings prior to 1960, though, were something else again, and with the exception of 1956's "Walkin' After Midnight" and perhaps one or two other songs, she seemed reined in and stifled as a singer, even though she was working with the same producer, Owen Bradley, who was to produce her 1960s successes. Oh the difference a song makes, because in the end the material she recorded between 1955 and 1960 – all of which is collected on these two discs – was simply too weak for Cline to turn into anything resembling gold, even with her obvious vocal skills.
Cline's style has been largely associated with the Nashville Sound, a sub-genre of country music that linked traditional lyrics with orchestrated pop music styles. This new sound helped many of her singles to crossover onto the Billboard Hot 100 and gain a larger audience that did not always hear country music. Her producer Owen Bradley built this sound onto her Decca recordings, sensing a potential in her voice that went beyond traditional country music. At first, she resisted the pop-sounding style, but was ultimately convinced to record in this new style. Stephen M. Desuner of Pitchfork explained that Cline has been an identifiable factor with the Nashville Sound: "She essentially rewrote their songs simply by singing them, elevating their words and wringing every one of their rhymes for maximum dramatic potential." Mark Deming of Allmusic commented, "Cline and Bradley didn't invent "countrypolitan," but precious few artists managed to meld the sophistication of pop and the emotional honesty of country as brilliantly as this music accomplishes with seemingly effortless grace, and these songs still sound fresh and brilliantly crafted decades after the fact."
Image
Cline's public image changed during the course of her career. She began her career wearing cowgirl dresses and hats designed by her mother. However, as her music crossed over into pop, she began wearing sequined gowns and cocktail dresses. While she would often wear cowgirl costumes for live performances, she would also wear evening dresses for television and metropolitan performances. For her 1957 performance on Arthur Godfrey's Talent Scouts, the show's producer insisted that Cline wear an evening dress instead of the fringed cowgirl attire she had intended to wear. Her 1962 engagement at the Merri-Mint Theatre in Las Vegas represented this particular image shift. For one of her performances, Cline wore a sequined cocktail dress designed by her mother.
Cline has also been seen as a pioneer for women in country music. She has been cited as an inspiration by many performers in diverse styles of music. Kurt Wolff of Country Music: The Rough Guide said that Cline had an "aggression" and "boisterous attitude" that gained her the respect of her male counterparts. Wolff explained, "She swaggered her way past stereotypes and other forces of resistance, showing the men in charge – and the public in general – that women were more than capable of singing about such hard subjects as divorce and drinking as well as love and understanding. Sean O'Hagan of The Guardian commented that along with Minnie Pearl, Jean Shepard and Kitty Wells, Cline helped prove that country music was not "macho" and that "strong women" could have a "strong voice". In 2013, The Washington Post wrote, "she was what I call a pre-feminist woman. She didn't open doors; she kicked them down." Mary Bufwack and Robert K. Oermann wrote in 2003 that Cline "transformed what it meant to be a female country star".
Legacy
Cline has been cited in both country and pop music as of one of the greatest vocalists of all-time. Her voice has also been called "haunting", "powerful", and "emotional". Cline's emotional expression and delivery of lyrics helped influence various musical genres and artists. With the support of producer Owen Bradley, Cline has been said to "help define" the Nashville Sound style of country music. While the subgenre has received mixed opinions, it has also been said to be a significant part of country music's "authenticity", with Cline being the center focal point of the subgenre. Other artists have noted her impact, including LeAnn Rimes who stated, "I remember my dad telling me to listen to the way she told a story... I remember feeling more emotion when she sang than anyone else I had ever heard." Lucinda Williams commented on Cline's vocal talent in helping define her legacy, stating, "Even though her style is considered country, her delivery is more like a classic pop singer... That's what set her apart from Loretta Lynn or Tammy Wynette. You'd almost think she was classically trained."
Cline has been a major influence on various music artists including Reba McEntire, Loretta Lynn, LeAnn Rimes, k.d. lang, Linda Ronstadt, Trisha Yearwood, Sara Evans, Dottie West, Kacey Musgraves, Margo Price, Cyndi Lauper, Trixie Mattel and Brandi Carlile. Dottie West (also a close friend of Cline's) spoke about her influence on her own career, "I think I was most influenced by Patsy Cline, she said things for people. There was so much feeling in there. In fact, she told me, 'Hoss, if you can't do it with feeling, don't'". In 2019, Sara Evans discussed how Cline has been an influence since she was a young girl, "I learned everything I could learn about her. I tried to mimic her singing to the ‘t’. We grew up singing in bars — my brothers, sisters and I — from the time I was really little. So I started covering every Patsy Cline song. Then when I first got my record deal I came to Winchester to visit a radio station to try to get them to play my song Three Chords and the Truth."
In 1973, Cline was inducted into the Country Music Hall of Fame. With the induction, she became the first solo female artist to be included. In 1977, Cline's friend and mentee Loretta Lynn released a tribute album entitled I Remember Patsy. The record contained covers of Cline's songs, including "Back in Baby's Arms" and "Crazy". The album's lead single was "She's Got You", which would reach the number 1 spot on the Billboard country chart in 1977. In 1995, Cline received a Grammy Lifetime Achievement Award for her legacy and career. Additionally, her hits "I Fall to Pieces" and "Crazy" received inductions into the Grammy Hall of Fame.
In 1993, Cline was included on United States postal stamps as part of their "Legends" series. Other country artists that were included on stamp series were The Carter Family, Hank Williams, and Bob Wills. The stamps were dedicated in an official ceremony at the Grand Ole Opry by Postmaster General Marvin Runyon. In August 1999, Cline received a star on the Hollywood Walk of Fame. The ceremony was attended by her widower Charlie Dick and daughter Julie Fudge. During the 1990s, two of her songs were voted among the "Greatest Juke Box Hits of All-Time". "Crazy" was voted as the number 1 greatest, along with "I Fall to Pieces" ranking at number 17.
Since the late 1990s, she received additional rankings and honors. In 1999, Cline was ranked at number 11 among VH1's list of the "100 Greatest Women of Rock and Roll". In 2003, she was included by Country Music Television on their list of the "40 Greatest Women of Country Music". In 2010, Cline ranked at number 46 on Rolling Stones list of the "100 Greatest Singers of All-Time". The magazine would rank her on their 2017 list of the "100 Greatest Country Artists of All-Time", where she placed at number 12.
Forty years after her death, MCA Nashville released a tribute album entitled Remembering Patsy Cline (2003). A television special also followed around the same time. The album consisted of cover versions of songs taken from Cline's 1967 greatest hits album. It included songs covered by country artists such as Terri Clark and Martina McBride. It also featured artists from other genres such as Michelle Branch, Diana Krall and Patti Griffin.
Cline's hometown of Winchester, Virginia has helped honor her legacy and career. In 1987, the local government approved the placing of markers within the town denoting it as the birthplace of Cline. The same year, a bell tower was erected in her burial location at Shenandoah Memorial Park. The bell tower cost thirty five thousand dollars and was partially funded by Cline's friends Jan Howard and Loretta Lynn. In 2005, Cline's childhood home was given an official on-site marker and included on the National Register of Historic Places. With the development of an organization entitled Celebrating Patsy Cline Inc., renovations began on Cline's childhood home. In August 2011, the Patsy Cline House officially opened as a historic home for tours. In almost three months, about three thousand people visited the home. The home was restored to the era in which Cline lived in it during the 1950s with her mother and siblings. Replicas of furniture and stage clothes are also included. Daughter Julie Fudge spoke of the house in 2011, stating, “I think when you go into the house, you will kind of feel like this is a snapshot of what it would have been like to visit when Mom lived there.”
In 2017, the Patsy Cline Museum opened in Nashville, Tennessee, located at 119 3rd Ave. S., on the second floor in the same building as the Johnny Cash Museum. The museum includes Cline's actual stage costumes, as well as her original scrapbook and record albums. The Patsy Cline Museum features other artifacts, such as the soda fountain machine from Gaunt's Drug Store, where Cline worked as a teenager. Original letters that Cline wrote to friends are also included as part of the museum.
Discography
Studio albums
1957: Patsy Cline
1961: Patsy Cline Showcase
1962: Sentimentally Yours
Posthumous studio albums
1964: A Portrait of Patsy Cline
1964: That's How a Heartache Begins
1980: Always
References
Footnotes
Books
Further reading
Bego, Mark. I Fall to Pieces: The Music and the Life of Patsy Cline. Adams Media Corporation.
Hazen, Cindy and Mike Freeman. Love Always, Patsy. The Berkley Publishing Group.
Jones, Margaret (1998). "Patsy Cline". In The Encyclopedia of Country Music. Paul Kingsbury, Editor. New York: Oxford University Press. pp. 98–9.
Gomery, Douglas Patsy Cline: The Making of an Icon. Trafford Publishing.
External links
Celebrating Patsy Cline an official organization sponsoring several projects
Patsy Cline Home and Museum located in Winchester, Virginia
Patsy Cline recordings at the Discography of American Historical Recordings.
The Patsy Cline Plane Crash
1932 births
1963 deaths
20th-century American composers
20th-century American singers
20th-century American women singers
20th-century women composers
Accidental deaths in Tennessee
American contraltos
American country singer-songwriters
American women composers
American women country singers
American women pop singers
American women singer-songwriters
American rockabilly musicians
Country Music Hall of Fame inductees
Country musicians from Tennessee
Country musicians from Virginia
Cowgirl Hall of Fame inductees
Deaths in Tennessee
Decca Records artists
Four Star Records artists
Grammy Lifetime Achievement Award winners
Grand Ole Opry members
People from Goodlettsville, Tennessee
People from Winchester, Virginia
Rock and roll musicians
Singer-songwriters from Virginia
Torch singers
Traditional pop music singers
Victims of aviation accidents or incidents in 1963
Victims of aviation accidents or incidents in the United States
Musicians killed in aviation accidents or incidents
Singer-songwriters from Tennessee
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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",
"But Gentlemen Marry Brunettes is a 1927 novel written by Anita Loos. It is the sequel to her 1925 novel Gentlemen Prefer Blondes. The plot follows the further adventures of Lorelei Lee and Dorothy Shaw and is illustrated by Ralph Barton.\n\nAs a sequel to the 1953 film Gentlemen Prefer Blondes, the 1955 film Gentlemen Marry Brunettes used only the book's name and starred Jane Russell and Jeanne Crain playing characters who were the daughters of Dorothy Shaw.\n\nPublication\nOriginally published in 1927, But Gentlemen Marry Brunettes is the sequel to Anita Loos' Gentlemen Prefer Blondes. Both books began as sketch series originally published in Harper's Bazaar magazine.\n\nLoos had planned on retiring after writing Gentlemen Prefer Blondes in order to care for her partner, John Emerson. However, she had promised Harper's Bazaar a sequel, so Loos and Emerson did not leave for Europe until shortly after the sequel had been published.\n\nSummary\nThe sequel to Gentlemen Prefer Blondes is also narrated by Lorelei, the bubbly blonde; however, she tells the tale of her friend, Dorothy, a bright talented young woman who grew up in a carnival company; she is discovered by Charlie, who helps her find her way to New York City as a young woman. In New York she is introduced to a broker who is to introduce her to Florenz Ziegfeld Jr., so that she might have a chance at becoming one of the Ziegfeld Follies. The broker is thrown off by Dorothy's unique style and personality and does little to refer her to Mr. Ziegfeld. Dorothy takes matters into her own hands and waits outside Mr. Ziegfeld's office and lands the position without any help. Dorothy marries Lester, a saxophone player from the Follies; she soon finds that marriage is not everything she wanted it to be...\n\nMain characters\nDorothy — Protagonist, an eccentric young woman with much talent, wit and independence.\nCharlie — Discovered Dorothy when she was in a reform school after leaving the circus. Dorothy's second husband.\nMr. Ziegfeld — The founder of the famous Ziegfeld Follies, gives Dorothy a job.\nLester — Saxophone player, marries Dorothy\nGloria — Dorothy's friend\nJerry — Violent background, hired to kill Lester\nClaude — Dorothy's new lover\n\nCritical analysis\nBoth Gentlemen Prefer Blondes and But Gentlemen Marry Brunettes were viewed by female scholars as celebration bordering on satire. Gentlemen Marry Brunettes is often considered the weaker of the two, and only works as a companion piece to Loos' first installment.\n\nFilm adaptation\nThe film based on the novel, Gentlemen Marry Brunettes (1955), is very loosely based on Loos' book. The plot is very different. Gentlemen Marry Brunettes is a musical film made by Russ-Field productions, starring Jane Russell and Jeanne Crain, and released by United Artists. The film was directed by Richard Sale, produced by the director and Bob Waterfield (Russell's husband) with Robert Bassler as executive producer, from a screenplay by Mary Loos and Sale, based on the novel But Gentlemen Marry Brunettes by Anita Loos.\n\nAnita Loos was the author of the novel and play Gentlemen Prefer Blondes which had been turned into a smash film with Jane Russell and Marilyn Monroe in 1953. This film was not as well received as the earlier one. Anita Loos had entitled her book But Gentlemen Marry Brunettes, but the studio dropped the first word from the title for the film.\n\nReferences\n\nExternal links\n \n \n\n1927 American novels\nAmerican novels adapted into films\nAmerican comedy novels\nAmerican satirical novels\nNovels by Anita Loos\nFictional diaries\nNovels first published in serial form\nNovels set in New York City\nNovels set in the Roaring Twenties\nWorks originally published in Harper's Bazaar\nSequel novels"
] |
[
"Ara Parseghian",
"Turnaround and the 1964 season"
] |
C_1e66a6211d784ba18bc7471bef2b90d6_1
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Who was Parseghian playing for in the 1964 season?
| 1 |
Who was Ara Parseghian playing for in 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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Notre Dame
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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 |
[
"Nathan Parseghian (Armenian: Արա Րաոլ Պարսէքյան, born December 10, 1984, in Sylvania, Ohio) is a former placekicker for the Miami Redhawks football team, and the great-grandnephew of Ara Parseghian.\n\nHigh school\nNathan attended Toledo St. John's Jesuit High School and played on the football team\n\nCollege\nAfter playing football at Hargrave Military Academy for a year, Nathan transferred to Miami University in the fall of 2004. He joined the team in January 2005. After getting limited playing time as a freshman in 2005, Nathan saw significant playing time his sophomore and junior seasons, before having a breakout senior year. He was 1st Team All-MAC his senior season completing 20/23 FG's. For his career he completed 35/49 FG's, and 47/47 extra points\n\nAfter College\nAfter seeing special teams consultant Gary Zauner in December, Nathan lived in Marco Island, while training in Naples, FL for his NFL Pro Day in Oxford, Ohio on March 20. He briefly played for the Billings Outlaws, an indoor football team in Montana.\n\nReferences\n\nMiami RedHawks football players\n1984 births\nLiving people\nBillings Outlaws players",
"The 1946 Miami Redskins football team was an American football team that represented Miami University as an independent during the 1946 college football season. In its third season under head coach Sid Gillman, Miami compiled a 7–3 record and outscored all opponents by a combined total of 220 to 72. Paul Dietzel was the team captain.\n\nAra Parseghian played at the halfback position for the team. He was selected by the Pittsburgh Steelers in the 13th round (109th overall pick) of the 1947 NFL Draft. He was inducted into the College Football Hall of Fame in 1980.\n\nMel Olix set a school record with 28 touchdown passes in 1946. The record stood for nearly 50 years.\n\nSchedule\n\nReferences\n\nMiami\nMiami RedHawks football seasons\nMiami Redskins football"
] |
[
"Ara Parseghian",
"Turnaround and the 1964 season",
"Who was Parseghian playing for in the 1964 season?",
"Notre Dame"
] |
C_1e66a6211d784ba18bc7471bef2b90d6_1
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Did he help Notre Dame turn things around?
| 2 |
Did Parseghian help Notre Dame turn things around?
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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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Parseghian told his coaches that the team would have a 6-4 record if they were lucky.
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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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"Notre Dame de Lourdes (or Notre-Dame-de-Lourdes) is French for \"Our Lady of Lourdes\", which refers to the Marian apparition that is reported to have appeared before various individuals in separate occasions around Lourdes, France.\n\nIt may also refer to:\n\nPlaces\n\nCanada\n Notre-Dame-de-Lourdes, Manitoba\n Notre-Dame-de-Lourdes, New Brunswick\n Notre-Dame-de-Lourdes, Centre-du-Québec, Quebec\n Notre-Dame-de-Lourdes, Lanaudière, Quebec\n Notre-Dame-de-Lourdes-de-Lorrainville, a community in Lorrainville, Quebec\n\nInstitutions\n Hospitalité Notre Dame de Lourdes, a Roman Catholic religious confraternity\n Collège Notre-Dame-de-Lourdes, an education facility located in Longueuil, Quebec, Canada\n\nSee also\n Notre Dame (disambiguation)\n Nossa Senhora de Lourdes (disambiguation)",
"The 2014–15 Notre Dame Fighting Irish women's basketball team will represent University of Notre Dame during the 2014–15 NCAA Division I women's basketball season. The Fighting Irish, led by twenty-eighth year head coach Muffet McGraw, play their home games at the Purcell Pavilion at the Joyce Center and were second year members of the Atlantic Coast Conference.\n\nBy edging South Carolina 66-65 in the Final Four the Irish got a rematch of last year's championship game vs. Connecticut. Like last year things didn't go well for the Irish after trailing 31-23 at the half; they were outscored 32-30 in the 2nd half and ended up 63-53 losers.\n\n2014–15 Roster\n\nMedia\nAll Notre Dame games will air on WHPZ Pulse 96.9 FM. Games are streamed online live.\n\nSchedule\n\n|-\n!colspan=9 style=\"background:#002649; color:white;\"|Exhibition\n\n|-\n!colspan=9 style=\"background:#002649; color:white;\"|Regular Season\n\n|-\n!colspan=9 style=\"background:#002649; color:white;\"| ACC Women's Tournament\n\n|-\n!colspan=9 style=\"background:#002649; color:white;\"| 2015 NCAA Women's Tournament\n\nSource\n\nRankings\n2014–15 NCAA Division I women's basketball rankings\n\nSee also\n2014–15 Notre Dame Fighting Irish men's basketball team\n\nReferences\n\nNotre Dame Fighting Irish women's basketball seasons\nNotre Dame\nNotre\nNCAA Division I Women's Basketball Tournament Final Four seasons\nNotre Dame Fighting Irish\nNotre Dame Fighting Irish"
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"Ara Parseghian",
"Turnaround and the 1964 season",
"Who was Parseghian playing for in the 1964 season?",
"Notre Dame",
"Did he help Notre Dame turn things around?",
"Parseghian told his coaches that the team would have a 6-4 record if they were lucky."
] |
C_1e66a6211d784ba18bc7471bef2b90d6_1
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Did they go on to lose lots of games that season?
| 3 |
Did Notre Dame go on to lose a lot of games that season in 1964?
|
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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October. The team went undefeated until the last game of the year against USC,
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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 |
[
"2002–03 Belarusian Cup was the twelfth season of the Belarusian annual football cup competition. Contrary to the league season, it is conducted in a fall-spring rhythm. The first games were played on 7 August 2002. Winners of the Cup qualified for the UEFA Cup Qualifying Round.\n\nFirst round\n17 teams joined competition in this round. Six clubs from Second League were drawn against six clubs from First League. Another five First League teams (Darida Minsk Raion, Naftan Novopolotsk, Kommunalnik Slonim, Torpedo-Kadino Mogilev, Khimik Svetlogorsk) advanced to the next round by drawing of lots. The rest of First and Second League teams did not participate in this edition of the Cup. All games were played on 7 August 2002.\n\nRound of 32\n15 winners of previous round were joined by 14 clubs from Premier League. Seven clubs advanced to the next round by drawing of lots (Dinamo Minsk, Dnepr-Transmash Mogilev, Gomel, Molodechno-2000, Torpedo-MAZ Minsk, Lokomotiv Minsk (II), Vertikal Kalinkovichi (III)). The games were played on 18 August 2002.\n\nRound of 16\nThe games were played on 15 September 2002.\n\nQuarterfinals\nThe games were played on 22 April 2003.\n\nSemifinals\nThe first legs were played on 8 May 2003. The second legs were played on 16 May 2003.\n\n|}\n\nFirst leg\n\nSecond leg\n\nFinal\n\nExternal links\nRSSSF\n\nBelarusian Cup seasons\nBelarusian Cup\nCup\nCup",
"2000–01 Belarusian Cup was the tenth season of the Belarusian annual football cup competition. Contrary to the league season, it is conducted in a fall-spring rhythm. The first games were played on 14 June 2000.\n\nFirst round\nThe games were played on 14 June 2000. Khimik Svetlogorsk advanced to the next round by a drawing of lots.\n\nRound of 32\nThe games were played in July 2000. Winners of the previous round were drawn against Premier League clubs. Two Premier League clubs (Gomel and Shakhtyor Soligorsk) advanced to the next round by a drawing of lots.\n\nRound of 16\nThe games were played on 2 October 2000.\n\nQuarterfinals\nThe first legs were played on 20 April 2001. The second legs were played on 2 May 2001.\n\n|}\n\nFirst leg\n\nSecond leg\n\nSemifinals\nThe first legs were played on 10 May 2001. The second legs were played on 18 May 2001.\n\n|}\n\nFirst leg\n\nSecond leg\n\nFinal\n\nExternal links\nRSSSF\n\nBelarusian Cup seasons\nBelarusian Cup\nCup\nCup"
] |
[
"Ara Parseghian",
"Turnaround and the 1964 season",
"Who was Parseghian playing for in the 1964 season?",
"Notre Dame",
"Did he help Notre Dame turn things around?",
"Parseghian told his coaches that the team would have a 6-4 record if they were lucky.",
"Did they go on to lose lots of games that season?",
"October. The team went undefeated until the last game of the year against USC,"
] |
C_1e66a6211d784ba18bc7471bef2b90d6_1
|
What happened in that game against USC?
| 4 |
What happened in the game between Notre Dame and USC in 1964?
|
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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who 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
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[
"The 1916 USC Trojans football team represented the University of Southern California (USC) in the 1916 college football season. In their third non-consecutive year under head coach Dean Cromwell (Cromwell was also coach in 1909 and 1910), the Trojans compiled a 5-3 record and outscored their opponents by a combined total of 129 to 80. The season featured USC's first game against Arizona, a 20-7 victory in Phoenix, its third game against California, a 27-0 loss in Los Angeles, and its second game against Oregon Agricultural, a 16-7 loss in Los Angeles.\n\nSchedule\n\nReferences\n\nUSC Trojans\nUSC Trojans football seasons\nUSC Trojans football",
"The 2007 Stanford vs. USC football game was an NCAA college football game held on October 6, 2007, at the Los Angeles Memorial Coliseum in Los Angeles, California. In a remarkable upset, the visiting Stanford Cardinal won 24–23 despite USC having been favored by 41 points entering the game. This result was the biggest point spread upset of all time in college football (since surpassed by the Howard University Bison in 2017, who were 45-point underdogs heading into a road game against the UNLV Rebels). USC entered the game with a 35-game home game winning streak (its previous home game loss also happened to be to Stanford, in 2001) which included a 24-game home game winning streak in Pac-10 play. By contrast, Stanford had compiled a Pac-10 worst 1–11 season in 2006, which included a 42–0 loss to USC. To compound the situation, Stanford's starting quarterback T. C. Ostrander had suffered a seizure the week before and his replacement, backup quarterback Tavita Pritchard, had never started a game and had thrown just three passes in official play.\n\nGame summary\nThe weather was sunny and with a slight west wind. The game began at 4:09pm Pacific Daylight Time and ended at 7:36pm.\n\nScoring\n\nFirst quarter\n06:25 USC – David Buehler 34 yd field goal USC 3–0\n\nSecond quarter\n07:15 USC – Chauncey Washington 1 yd run (PAT blocked) USC 9–0\n\nThird quarter\n11:58 Stanford – Austin Yancy 31 yd interception return (Derek Belch kick) USC 9–7\n02:54 USC – Fred Davis 63 yd pass from John David Booty (David Buehler kick) USC 16–7\n\nFourth quarter\n14:54 Stanford – Anthony Kimble 1 yd run (Derek Belch kick) USC 16–14\n11:04 USC – Ronald Johnson 47 yd pass from John David Booty (David Buehler kick) USC 23–14\n05:43 Stanford – Derek Belch 26 yd field goal USC 23–17\n00:48 Stanford – Mark Bradford 10 yd pass from Tavita Pritchard on fourth down and goal (Derek Belch kick) Stanford 24–23.\n\nThe game-winning drive featured a 20-yard pass from Tavita Pritchard to future NFL star Richard Sherman on fourth-and-20 from the USC 29.\n\nAftermath\n\nThe final score was announced at the Rose Bowl, where USC's two arch-rivals, UCLA and Notre Dame, were playing each other. Irish and Bruins fans cheered in unison and celebrated together briefly. At the same time, at Tiger Stadium, the #1 LSU Tigers were playing the #9 Florida Gators and the fans in the stadium celebrated when the USC score was announced there, too. The Tigers would later come from behind to beat the Gators 28–24, making them #1 in both polls with USC dropping from #1 in the coaches poll due to the loss.\n\nStanford's victory, for once, was cheered on by perennial rival Cal, who was ranked No. 3 in the nation at the time of USC's loss. USC's loss elevated California to its highest ranking in nearly six decades, and it was primed to reach the #1 ranking for the first time since 1951 when #1 LSU was beaten in overtime by Kentucky the same day it played Oregon State. California lost the Oregon State game; after starting the season 5-0 and ranked No. 12, it finished 7-6 and unranked. 2007 was also the only game in an eight year Big Game stretch that it lost to Stanford.\n\nAt the end of the regular season, Sports Illustrated chose the Stanford upset of USC as the second \"Biggest Upset of 2007\" after Division I FCS Appalachian State's 34–32 upset of #5 Michigan.\n\nIn 1979, Stanford had pulled a similar feat by coming back in the last four minutes to tie USC 21–21 on October 13. This game, considered one of the greatest of the 20th century, effectively cost USC a national championship.\n\nIn the 2009 season, Stanford would eclipse the point spread by handing USC its worst defeat ever. Stanford won 55–21, and USC was an 11-point favorite. The next year in 2010, tenth-ranked Stanford defeated USC with a last-second field goal to win, 37–35. In 2011, Stanford would again defeat USC, continuing a 3-game streak of defeating USC at their home stadium. In a much closer game, Stanford defeated USC 56–48 in triple overtime. In the following year, the Cardinal again faced a second-ranked USC team and defeated them 21–14, earning a fourth consecutive win over the Trojans, a first in team and school history.\n\nSee also\n2007 NCAA Division I FBS football season\n2007 Appalachian State vs. Michigan football game\n\nReferences\n\nExternal links\n Stanford vs. USC Final Stats. October 6, 2007 USC Trojans Athletics official site\n\nStanford vs. USC\nCollege football games\nStanford Cardinal football games\nUSC Trojans football games\nOctober 2007 sports events in the United States\nStanford vs. USC\n2007 in Los Angeles"
] |
[
"Ara Parseghian",
"Turnaround and the 1964 season",
"Who was Parseghian playing for in the 1964 season?",
"Notre Dame",
"Did he help Notre Dame turn things around?",
"Parseghian told his coaches that the team would have a 6-4 record if they were lucky.",
"Did they go on to lose lots of games that season?",
"October. The team went undefeated until the last game of the year against USC,",
"What happened in that game against USC?",
"who won 20-17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman."
] |
C_1e66a6211d784ba18bc7471bef2b90d6_1
|
Who was playing on the team during that 1964 season besides Fertig and Sherman?
| 5 |
Who was playing on the Notre Dame team during that 1964 season besides Fertig and Sherman?
|
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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Huarte
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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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"Craig Fertig (May 7, 1942 – October 4, 2008) was an American football player and coach. He was the head football coach at Oregon State University from 1976 to 1979, compiling a record of 10–34–1 () in four seasons.\n\nPlaying career\nFertig attended the University of Southern California where he was a star quarterback for the Trojans. In 1964, he set eight school passing records and threw the game-winning touchdown against top-ranked Notre Dame.\n\nCoaching career\nSelected late in the 1965 NFL Draft, 270th overall, Fertig opted not to play pro football and began coaching in 1965 at USC. From 1965 to 1975, he served as an assistant coach with the Trojans, except for a year in the World Football League (WFL) in 1974. Fertig was hired as an assistant coach with the Portland Storm, but the team only lasted one season. The IRS impounded the franchise at the conclusion of the 1974 season and Fertig returned to USC as an assistant in 1975.\n\nAt age 33 in December 1975, Fertig was named the head coach at Oregon State University in Corvallis, with a three-year contract at $26,000 per year. He followed Dee Andros, who stepped down after eleven seasons and became OSU's athletic director. Fertig was fired during his fourth season in October 1979, in the second year of a three-year contract at $33,696 per year. He coached through the end of the season, and lost the finale to Oregon 24–3 in the Civil War, the Beavers' fifth straight loss to the Ducks.\n\nFertig served as an assistant athletic director for the Trojans, and was later a broadcaster.\n\nFamily and death\nBorn in Bell, California, Fertig was from Huntington Park, where his father was chief of police. He graduated from Huntington Park High School and enrolled at USC. Fertig's sister Trudy also attended USC and married former USC lineman Marv Marinovich; their son Todd Marinovich is Fertig's nephew.\n\nFertig died in 2008 at age 66 of kidney failure at Hoag Memorial Hospital Presbyterian in Newport Beach on October 4. USC remembered him with a moment of silence at the game against Oregon that evening.\n\nHead coaching record\n\nReferences\n\nExternal links\n \n\n1942 births\n2008 deaths\nAmerican football quarterbacks\nOregon State Beavers football coaches\nPeople from Bell, California\nPeople from Huntington Park, California\nPlayers of American football from California\nSportspeople from Los Angeles County, California\nUSC Trojans football coaches\nUSC Trojans football players\nPortland Storm coaches\nDeaths from kidney failure",
"Kevin Matthew Fertig (born January 17, 1977) is an American realtor and professional wrestler. He is best known for working with WWE under the ring names Mordecai and Kevin Thorn.\n\nFertig made his professional wrestling debut in 2000, and quickly began working for the Memphis Championship Wrestling promotion in his hometown, under the ring name Seven. There he won the Hardcore, Southern Tag Team and Southern Heavyweight Championships. He signed a contract with WWE in April 2002, and was assigned to their developmental territory, Ohio Valley Wrestling (OVW). He competed in OVW for two years, winning the OVW Southern Tag Team Championship with Travis Bane, before being called up to the SmackDown brand as Mordecai, a religious zealot. The character only lasted a few months, and he returned to OVW before being released in mid-2005.\n\nHe competed on the independent circuit for the next year, before returning to WWE to wrestle on its ECW brand as Kevin Thorn, a vampire character. He gained Ariel as a valet, and later joined the New Breed faction in early 2007. After Ariel was released in mid-2007, Thorn continued to wrestle on ECW, but was sent to OVW in late 2007, after undergoing an image change. He wrestled in both OVW and WWE's other developmental territory, Florida Championship Wrestling, until January 2009, when he was released from his contract. He then returned to the independent circuit, and also wrestled in Europe as Seven Thorn.\n\nProfessional wrestling career \nFertig first got involved in professional wrestling by working out with wrestler Sid Vicious in Gold's Gym in Memphis. Beginning his career in 2000, Fertig quickly began wrestling as Seven in Memphis Championship Wrestling and some other independent promotions. Seven was a gimmick based on the seven deadly sins. He won the MCW Southern Heavyweight Championship on July 7, 2001. He also won the MCW Southern Tag Team Championship with Thrash, and held the MCW Hardcore Championship.\n\nWorld Wrestling Entertainment (2002–2005) \nIn April 2002, Fertig signed a developmental deal with World Wrestling Entertainment (WWE) and was assigned to their development territory Ohio Valley Wrestling (OVW), where he continued to use the Seven gimmick. After wrestling sporadically in OVW throughout 2002 and 2003, against wrestlers including Chris Cage and Johnny Jeter, he joined the Disciples of Synn stable. Along with stable-mate Travis Bane, he won the OVW Southern Tag Team Championship on March 5, 2003, by defeating Lance Cade and Rene Dupree. After holding the championship for just over a month, they were forced to vacate it on April 10, when Bane suffered an injury. In late 2003 and early 2004, Seven and Bane began competing in dark matches prior to the Raw television show, using their real names of Kevin Fertig and Travis Tomko respectively.\n\nIn 2004, Fertig pitched the idea of a religious character named Malachi to Vince McMahon. In late April 2004, Fertig was called up to the SmackDown! brand with vignettes playing on the show announcing his new character, Mordecai, a religious Zealot-type character, which was partially based on his previous Seven gimmick. During numerous promos, Mordecai claimed to be on a crusade to rid the world of sin. He consistently wore white and had blonde hair and a beard as a sign of his purity. Mordecai debuted in-ring for the SmackDown! brand on May 16, 2004, during the Judgment Day pay-per-view, defeating Scotty 2 Hotty. In later appearances, Mordecai condemned the audience for their sins, and led them in prayer. at The Great American Bash, Mordecai defeated Hardcore Holly. on the July 1 episode of Smackdown, Mordecai lost to Rey Mysterio.\n\nIn early July, however, the gimmick was dropped and Fertig was sent back to OVW for more training. Fertig's return to OVW was also due to his involvement in a bar fight, and subsequent impending lawsuits meant that WWE decided to take Fertig off television. Fertig returned to OVW, wrestling under a mask as Vengeance, and competed only sporadically against wrestlers including Elijah Burke, Mark Henry, Johnny Jeter, and Matt Cappotelli. He was soon released in July 2005.\n\nIndependent circuit (2005–2006) \nFollowing his WWE release, Fertig began using the Mordecai name again while working on the independent circuit. He wrestled for Memphis Wrestling, where he won the Southern Title in March 2005. He went on to retain the championship in a match against Garrison Cade on April 16. He also worked for UCW, and wrestled against competitors including Marty Jannetty and Shayne Maddox.\n\nReturn to the World Wrestling Entertainment\n\nECW (2006–2007) \n\nFertig made his return in June 2006 on WWE's ECW brand as a vampire. His first appearances on ECW on Sci Fi saw him appear in several vignettes, looking into the camera and spitting blood, while remaining unnamed and unofficially known as the \"ECW Vampire\". The idea behind the vignettes was that Fertig was to be part of a 'vampire' faction with Gangrel and Ariel; however, the faction did not materialise on television. The vignettes later expanded to include Ariel as a tarot card reader.\n\nFertig's televised in-ring debut for the brand on the July 25 episode of ECW on Sci Fi, defeating Little Guido Maritato, with Ariel acting as his valet. The next week, in another vignette, Ariel revealed his name to be Kevin Thorn. Ariel then increased her ringside presence during Thorn's matches, often interfering in his matches, and Thorn began a scripted feud with Balls Mahoney. In order to counteract Ariel's interference, Mahoney began bringing in Francine as an equalizer. The two teams feuded until early October, until Francine was released by WWE. As Ariel began to feud with Kelly Kelly, Thorn became caught up in the feud and at the December to Dismember pay-per-view, Thorn and Ariel defeated Kelly and Kelly's on-screen boyfriend Mike Knox in a mixed tag team match, after Knox walked out on Kelly.\n\nOn February 6, 2007, Thorn and Ariel joined Elijah Burke, Matt Striker, and Marcus Cor Von in forming the New Breed stable, with Thorn taking on the enforcer role and describing himself as the \"muscle\" of the group. The New Breed immediately engaged themselves in a feud with the ECW Originals (Rob Van Dam, Tommy Dreamer, Sabu and The Sandman). Different members of the New Breeds wrestled members of the ECW originals over several weeks, leading up to WrestleMania 23. At WrestleMania, the New Breed was defeated by the ECW Originals in an 8-man tag team match, but won a rematch on the following episode of ECW. In April, CM Punk aligned himself with the New Breed after weeks of recruiting. Just two weeks later, however, Punk betrayed the New Breed and attacked Burke after a match. The following week, Burke announced a match between Thorn and Punk, but Thorn lost. After the match, Thorn quit the New Breed, as none of the other members interfered during the match to help him.\n\nOn May 18, Ariel was released by WWE. The following week, Thorn appeared by himself, with the commentators claiming that Thorn was \"flying solo\". After leaving Ariel, Thorn was pushed, defeating superstars such as Tommy Dreamer and Stevie Richards. His winning streak came to an end on July 3, however, when he lost to CM Punk on ECW. Thorn then began a feud with Stevie Richards, after Richards defeated Thorn in an upset on two consecutive occasions. Following this, Thorn attacked Richards backstage. He later pinned Richards in a match, but the referee reversed the decision, and awarded the match to Richards, when Thorn attacked Richards after the match. Despite this, Thorn defeated Richards the following week, and then teamed up with Elijah Burke to defeat Richards and Tommy Dreamer in a tag team match. On the September 18 episode of ECW, Thorn along with Burke, Dreamer, and Richards involved themselves in an Elimination Chase to No Mercy to face Punk. In their first match, a fatal four-way, Thorn was victorious, eliminating Richards, but was eliminated himself the following week, due to being pinned in a triple threat match.\n\nOn November 20, 2007, Thorn debuted a new look, with shorter hair and different ring attire, while defeating Nunzio. Soon after this image change, Thorn was taken off of television and sent to the WWE developmental territory, Ohio Valley Wrestling.\n\nDevelopmental territories (2008–2009) \nIn early 2008, Fertig made his return to Ohio Valley Wrestling (OVW), and began wrestling under his real name. He competed against wrestlers including Pat Buck, J.D. Michaels, and Kofi Kingston. In mid-2008, Fertig moved to the new developmental territory, Florida Championship Wrestling (FCW), and reverted to the Kevin Thorn name. His first match in FCW was on May 3, when he defeated Afa Jr. in a Street Fight. On May 6, he teamed up with Atlas DaBone to defeat Afa, Jr. and \"The Upgrade\" Tyrone Jones. His first loss in FCW was on June 3, when he was defeated by Shawn Spears, following a distraction from Sinn Bowdee.\n\nFertig was part of plans for a faction to feud with The Undertaker in mid-2008, however, he underwent hip surgery in September, and the plans did not proceed. He competed in his final match in FCW on December 4, when he, Sheamus, and Gavin Spears were defeated by Joe Hennig, Johnny Prime, and Eric Escobar in a six-man elimination match. In January 2009, he was offered a new contract with WWE, but turned it down. As a result, WWE announced that he had been released from his contract by request on January 9, although his contract did not technically end until April 5, preventing him from wrestling for other promotions.\n\nIndependent circuit (2009–present) \nFollowing his release from WWE, Fertig toured Europe, and stated he was considering working in Mexico and Puerto Rico. He has been using the Kevin Thorn vampire gimmick, in various independent promotions, such as One Pro Wrestling and Dynamic Pro Wrestling, and has also wrestled as Seven Thorn. At the September 1, 2009, tapings of Total Nonstop Action Wrestling's Impact! television show Fertig wrestled in a dark match under the ring name Serpent, losing to Kip James.\n\nFertig appeared at German Stampede Wrestling shows in September 2010 as Seven Thorn. He wrestles for Frontier Elite Wrestling as 'Kevin Thorn', and won the FEW Heavyweight Championship.\n\nPersonal life \nFertig has a son. He also is friends with Matt and Jeff Hardy. As of 2020, Fertig is a Realtor in the Indianapolis, Indiana metro area.\n\nChampionships and accomplishments \nFrontier Elite Wrestling\nFEW Heavyweight Championship (5 times)\nMemphis Championship Wrestling\nMCW Hardcore Championship (1 time)\nMCW Southern Heavyweight Championship (1 time)\nMCW Southern Tag Team Championship (1 time) – with Trash \nMemphis Wrestling\nMemphis Wrestling Southern Heavyweight Championship (2 times)\nOhio Valley Wrestling\nOVW Southern Tag Team Championship (1 time) – with Travis Bane\nVanguard Championship Wrestling\nVCW Tag Team Championship (1 time) - with Gangrel\n Wrestling Observer Newsletter\n Worst Gimmick (2004) as Mordecai\n\nReferences\n\nExternal links \n\n \n \n\n1977 births\nLiving people\nSportspeople from Memphis, Tennessee\nAmerican male professional wrestlers\nProfessional wrestlers from Tennessee"
] |
[
"Ara Parseghian",
"Turnaround and the 1964 season",
"Who was Parseghian playing for in the 1964 season?",
"Notre Dame",
"Did he help Notre Dame turn things around?",
"Parseghian told his coaches that the team would have a 6-4 record if they were lucky.",
"Did they go on to lose lots of games that season?",
"October. The team went undefeated until the last game of the year against USC,",
"What happened in that game against USC?",
"who won 20-17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman.",
"Who was playing on the team during that 1964 season besides Fertig and Sherman?",
"Huarte"
] |
C_1e66a6211d784ba18bc7471bef2b90d6_1
|
Were there any other notable team members?
| 6 |
Besides Huarte, Fertig, and Sherman, were there any other notable team members on Notre Dame?
|
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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Snow
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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
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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
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American Presbyterians
Ethnic Armenian sportspeople
American sportspeople of Armenian descent
American people of French descent
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"BNK48 is a Thai idol group and the third international sister group of the Japanese idol group AKB48, based in Bangkok, Thailand.\n\nThe original members of the group were recruited in mid-2016 and were announced in early 2017, comprising a total of 30 people. The second-generation 27 additional members were announced on 29 April 2018. On 9 August 2020, 19 third-generation members were announced. Some members have left the group in the process known as graduation. , the group consists of 56 members, of whom 16 constitute Team BIII, 17 constitute Team NV, and the rest is categorised as trainees.\n\nThe first and current captain of the group is Cherprang.\n\n\n\nTeam BIII \n\nThe first formation of Team BIII (read B Three) was announced on 24 December 2017, originally consisting of 24 members, with Pun as captain and Jennis as vice captain. There was also a team shuffle announcement on 16 November 2019, which moved some members to Team NV and some trainees were promoted to Team BIII.\n\nAfter graduation of some members and team shuffling, the team now consists of 16 members as follows:\n\nTeam NV \nTeam NV (read N five) formation was announced during Pun's birthday stage on 16 November 2019. The team's captain and vice captain are Tarwaan and Pupe, respectively.\n\nThe team now consists of 17 members as follows:\n\nTrainees \n\nThe members that are not promoted to any team are categorised as trainees ( kenkyūsei). There are now 23 trainees as follows:\n\nFormer members \n\nLike its sister group, the leaving of the group is known as graduation. The graduated members are as follows:\n\nMembership timeline\n\nReferences \n\nBNK48\n \nBNK48",
"A kickoff meeting is the first meeting with the project team and the client of the project. This meeting would follow definition of the base elements for the project and other project planning activities. This meeting introduces the members of the project team and the client and provides the opportunity to discuss the role of team members. Other base elements in the project that involve the client may also be discussed at this meeting (schedule, status reporting, etc.).\n\nIf there are any new team members, the process to be followed is explained so as to maintain quality standards of the organization. Clarity is given by the project lead if there exists any ambiguity in the process implementations.\n\nThere is a special discussion on the legalities involved in the project. For example, the design team interacting with the testing team may want a car to be tested on city roads. If the legal permissions are not mentioned by the concerned stakeholder during kickoff, the test may get modified later to comply with local traffic laws (this causes unplanned delay in project implementation). So, it would be best to have a discussion about this during the kickoff meeting and to follow it up separately, rather than to proceed on assumptions and later be forced to replan test procedures.\n\nThe kickoff meeting is an enthusiasm-generator for the customer and displays a full summary of the project so far. By displaying a thorough knowledge of the goal and steps on how to reach it, the customer gains confidence in the team's ability to deliver the work. Kickoff means that the work starts.\n\nSee also\n Project management\n\nReferences\n\nSchedule (project management)"
] |
[
"Ara Parseghian",
"Turnaround and the 1964 season",
"Who was Parseghian playing for in the 1964 season?",
"Notre Dame",
"Did he help Notre Dame turn things around?",
"Parseghian told his coaches that the team would have a 6-4 record if they were lucky.",
"Did they go on to lose lots of games that season?",
"October. The team went undefeated until the last game of the year against USC,",
"What happened in that game against USC?",
"who won 20-17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman.",
"Who was playing on the team during that 1964 season besides Fertig and Sherman?",
"Huarte",
"Were there any other notable team members?",
"Snow"
] |
C_1e66a6211d784ba18bc7471bef2b90d6_1
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Did Parsehian win any coaching awards that season?
| 7 |
Did Parseghian win any coaching awards for that 1964 season with Notre Dame?
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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 numerous coach of the year awards for engineering the turnaround,
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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
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Players of American football from Akron, Ohio
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"The 2000–01 Louisville Cardinals men's basketball team represented the University of Louisville in the 2000–01 NCAA Division I men's basketball season, the university's 87th season of intercollegiate competition. The head coach was Denny Crum and the team finished the season with an overall record of 12-19. It was Crum's last season as head coach of Louisville, ending the longest tenure of any Louisville head basketball coach. Crum also became the winningest coach of the Louisville basketball team during his 30-year coaching career, with 675 wins. Rick Pitino replaced Crum after the season ended.\n\nRegular season\nThe Cardinals began their regular season on November 17 with an 86-71 win over Hawaii. However, the Cardinals went on a five-game losing streak from November 22 until an 86-70 win over Loyola (Chicago) ended the streak on December 18. They won again on December 21 by a score of 89-86 over Murray State, but lost the next four games between December 23 and January 10, 2001. The Cardinals never won more than two games in a row, with their largest losses coming against Alabama by a score of 100-71 on November 30, and against Charlotte by a score of 106-72 on February 11.\n\nPostseason\nOn Wednesday March 7, 2001, the Cardinals played UAB for the first round of the Conference USA Tournament. Led by Murry Bartow, the Blazers defeated the Cardinals 71-64, leaving the Cardinals with a final record of 12-19 The Cardinals did not play in the NCAA Tournament.\n\nAwards\nLouisville distributed the following awards at the end of the season:\nPeck Hickman Most Valuable Player Award\nMarques Maybin\nMost Improved Player\nRashad Brooks\nMost Three Points Awards\nReece Gaines\nMost Assists Awards\nReece Gaines\nBest Defensive Player\nJoseph N'Sima\nBest First-Year Player\nJoseph N'Sima\nRebound Award\nJoseph N'Sima\nBest Field Goal Percentage Award\nHajj Turner\nBest Free-Throw Percentage\nErik Brown\nScholar-Athlete Award\nMuhammed Lasege\nMost Inspirational Player Award\nBryant Northern\nCoaches' Award\nSimeon Naydenov\n\nCoaching change\nAt the end of the season, coach Denny Crum retired from coaching the Cardinals, with the original announcement coming on March 2, 2001. The soon-to-be coach Rick Pitino visited the campus on March 14, 2001. He held his first press conference on March 23, 2001 at 6:30 PM EDT. On April 17, a rally was held commemorating the new head coach. Two days later, Pitino completed the basketball staff.\n\nReferences\n\nLouisville Cardinals men's basketball seasons\nLouisville\nLouisville Cardinals men's basketball, 2000-01\nLouisville Cardinals men's basketball, 2000-01",
"The 1952–53 Boston Bruins season was the Bruins' 29th season in the National Hockey League (NHL).\n\nOffseason\n\nRegular season\n\nFinal standings\n\nRecord vs. opponents\n\nSchedule and results\n\nPlayoffs\n\nPlayer statistics\n\nRegular season\nScoring\n\nGoaltending\n\nPlayoffs\nScoring\n\nGoaltending\n\nAwards and records\n\nAwards\n\nThe Boston Bruins did not win any NHL awards for the 1952-53 NHL season.\n\nAll-Star teams\n\nTransactions\n\nThe following is a list of all transactions that have occurred for the Boston Bruins during the 1952–53 NHL season. It lists which team each player has been traded to and for which player(s) or other consideration(s), if applicable.\n\nSee also\n1952–53 NHL season\n\nReferences\n\nExternal links\n\nBoston Bruins season, 1952-53\nBoston Bruins season, 1952-53\nBoston Bruins seasons\nBoston\nBoston\n1950s in Boston"
] |
[
"Ara Parseghian",
"Turnaround and the 1964 season",
"Who was Parseghian playing for in the 1964 season?",
"Notre Dame",
"Did he help Notre Dame turn things around?",
"Parseghian told his coaches that the team would have a 6-4 record if they were lucky.",
"Did they go on to lose lots of games that season?",
"October. The team went undefeated until the last game of the year against USC,",
"What happened in that game against USC?",
"who won 20-17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman.",
"Who was playing on the team during that 1964 season besides Fertig and Sherman?",
"Huarte",
"Were there any other notable team members?",
"Snow",
"Did Parsehian win any coaching awards that season?",
"won numerous coach of the year awards for engineering the turnaround,"
] |
C_1e66a6211d784ba18bc7471bef2b90d6_1
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What were some of the awards that he won?
| 8 |
What were some of the awards that were won by Parseghian 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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including from the American Football Coaches Association, the Football Writers Association of America,
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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
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Notre Dame Fighting Irish football coaches
Northwestern Wildcats football coaches
Miami RedHawks football coaches
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Miami University trustees
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"American singer and songwriter Bruno Mars has received various awards and nominations throughout his career. He signed a record deal with Atlantic Records in 2009, and came to prominence as a composer for other artists along with his production team the Smeezingtons. They were responsible for Mars's first collaboration with B.o.B, the single \"Nothin' on You\", which won Song of the Year at the 2010 Soul Train Music Awards, while at the 53rd Annual Grammy Awards it was nominated in three categories, including Record of the Year. Mars's debut solo single, \"Just the Way You Are\", won Best Male Pop Vocal Performance at the same ceremony. His debut studio album, Doo-Wops & Hooligans (2010) was nominated for Album of the Year at the 54th Annual Grammy Awards, while \"Grenade\" was nominated for Record of the Year and Song of the Year. He won awards for Best Male Artist at several award ceremonies in 2011 and 2012, including American Music Award for Favorite Pop/Rock Male Artist, Brit Award for International Male Solo Artist and the Echo Award for Best International Male.\n\nMars's second studio album, Unorthodox Jukebox (2012) earned the singer four nominations at the 56th Annual Grammy Awards, with two of its singles, \"Locked Out of Heaven\", and \"When I Was Your Man\", being nominated for Record of the Year and Best Pop Solo Performance, respectively. The album won Best Pop Vocal Album at the ceremony and was also recognized with a Juno Award. In addition, Mars won two consecutive International Artist of the Year at the 2013 and 2014 NRJ Music Awards. In 2014, he won an International Male Solo Artist at the 2014 BRIT Awards and collaborated on Mark Ronson's single \"Uptown Funk\". The song won the Brit Award for Single of the Year, Song of the Year at the Soul Train Music Awards, International Work of the Year at the APRA Music Awards and two Grammy awardsRecord of the Year and Best Pop Duo/Group Performance.\n\nIn 2016, Mars received a Hollywood Walk of Fame star in the category of recording and became the recipient for NRJ Artist of Honor. In 2017, he earned an Innovator Award at the iHeartRadio Music Awards and for his work on Adele's third studio album, 25 (2015), he received a Grammy Award for Album of the Year at the 59th ceremony. Mars third studio album, 24K Magic (2016), earned him seven awards at the 2017 American Music Awards, including Artist of the Year, two for his single \"That's What I Like\" and other two for his album 24K Magic. He also won Album/Mixtape of the Year at the 2017 Soul Train Music Awards, in addition to winning four other awards. In 2018, the album won Grammy Awards for Album of the Year and Best R&B Album, the single \"24K Magic\" received Record of the Year, while \"That's What I Like\" earned Song of the Year, Best R&B Performance and Best R&B Song. In 2021, Mars released a collaborative album with Anderson .Paak, as Silk Sonic, titled An Evening with Silk Sonic. Its single, \"Leave the Door Open\" won Song of the Year at the 2021 Soul Train Music Awards, while the duo won Best Group at the BET Awards 2021 and International Group of the Year at the 2022 Brit Awards.\n\nAwards and nominations\n\nOther accolades\n\nGuinness World Records\n\nListicles\n\nNotes\n\nReferences\n\nLists of awards received by American musicians\nAwards",
"The Basketball Bundesliga MVP (Most Valuable Player) is an award that is given yearly to the best player in the regular season of the Basketball Bundesliga, which is the top professional basketball league in Germany.\n\nWinners\n\nPrior to 1994, the award was given as the German Player of the Year award, and was given to the \"Best German Player\" of the season, regardless of what league he played in. So to win the award, a player didn't even have to play in the German League. From 1994 onward, the German Player of the Year award was changed to instead mark the Most Valuable Player of the Basketball Bundesliga (German Basketball League).\n\nAwards won by player\n\nAwards won by nationality\n\nAwards won by club\n\nReferences\n\nExternal links\nGerman League official website \n\nMost valuable player awards\nMost Valuable Player\nEuropean basketball awards"
] |
[
"Ara Parseghian",
"Turnaround and the 1964 season",
"Who was Parseghian playing for in the 1964 season?",
"Notre Dame",
"Did he help Notre Dame turn things around?",
"Parseghian told his coaches that the team would have a 6-4 record if they were lucky.",
"Did they go on to lose lots of games that season?",
"October. The team went undefeated until the last game of the year against USC,",
"What happened in that game against USC?",
"who won 20-17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman.",
"Who was playing on the team during that 1964 season besides Fertig and Sherman?",
"Huarte",
"Were there any other notable team members?",
"Snow",
"Did Parsehian win any coaching awards that season?",
"won numerous coach of the year awards for engineering the turnaround,",
"What were some of the awards that he won?",
"including from the American Football Coaches Association, the Football Writers Association of America,"
] |
C_1e66a6211d784ba18bc7471bef2b90d6_1
|
What other awards did he receive?
| 9 |
What other awards did Parseghian receive in 1964 besides the American Football Coaches Association and the Football Writers Association of America?
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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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the Washington Touchdown Club, the Columbus Touchdown Club, and Football News.
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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
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American Presbyterians
Ethnic Armenian sportspeople
American sportspeople of Armenian descent
American people of French descent
| true |
[
"The 1990 Brit Awards were the 10th edition of the biggest annual pop music awards in the United Kingdom. They are run by the British Phonographic Industry and took place on 18 February 1990. The ceremony was held at the Dominion Theatre in London for the first time, having previously been held at the Royal Albert Hall, and was hosted by Cathy McGowan.\n\nPerformances\nLisa Stansfield – \"All Around the World\"\nNeneh Cherry – \"Manchild\"\nNigel Kennedy – Vivaldi's Four Seasons\nVarious Artists with appearance by The Cookie Crew – \"The Brits 1990 (Dance Medley)\"\nPhil Collins – \"Another Day in Paradise\"\nSoul II Soul – What Is Soul II Soul\n\nWinners and nominees\n\nMultiple nominations and awards\nThe following artists received multiple awards and/or nominations. don't counting Outstanding Contribution to Music.\n\nNotable moments\n\nFreddie Mercury\nThe 1990 Brit Awards saw the final public appearance of Queen frontman Freddie Mercury. Queen appeared at the ceremony to receive the Brit Award for Outstanding Contribution to British Music. Mercury – who had been suffering from AIDS since 1987 but had not yet disclosed it to the public – did not make a speech, as Brian May did the talking on behalf of the other members, but his gaunt appearance was noticeable. He briefly thanked the public and wished them goodnight before Queen left the stage. Mercury died in November 1991 from complications resulting from AIDS.\n\nReferences\n\nExternal links\n1990 Brit Awards at Brits.co.uk\n\nBrit Awards\n1990 in British music\nBrit Awards\nBrit Awards\nBrit",
"The following is a list of awards and nominations received by Sasha, a Welsh DJ and record producer.\n\nDJ Awards\nThe DJ Awards organises the annual electronic music DJ awards event it is the only international ceremony for DJs and also the oldest, the awards are held once a year at Pacha club in Ibiza Spain it is one of the most important accolades an artist can win or be honoured by.\n\nSasha has won the Best Progressive House DJ Award 3 times, Best Tech House/Progressive DJ Award1 time and received 11 nominations overall.\n\nDJ Magazine Awards\nArtists are nominated to the DJ Magazine Top 100 DJ's list each year the public votes to decide who they rank as the World's No 1 DJ at the end of the poll.\n\nSasha achieved the World's No 1 ranking DJ in 2000 and he stayed in the top 5 for 8 consecutive years, the top 10 for 11 consecutive years.\n\nElectronic Music Awards\nSasha has won one award at the Electronic Music Awards.\n\nGrammy Awards\nIn 2005, the Grammy committee debated whether Sasha's mix compilation album, Involver, was eligible for nomination as Best Electronic/Dance Album. The Recording Academy decided that the album was eligible, but Involver did not receive a nomination. Sasha did receive a Grammy nomination for his remix of Felix da Housecat's \"Watching Cars Go By\", which was featured on Involver.\n\nInternational Dance Music Awards\nAt the annual Winter Music Conference, Sasha has won the \"Best Techno/Trance 12\" award (1999) for the Xpander EP, and \"Best CD Compilation\" awards for Global Underground: Ibiza (1999, 2000) and Involver (2004). He was also nominated in the categories \"Best European DJ\" (2004) and \"Best Remixer\".\n\nSasha has achieved 4 wins from 10 nominations overall.\n\nMuzik Awards\nAt the 1999 Ericsson Muzik Awards, he received an award for \"Outstanding Contributions to Dance Music\".\n\nReferences\n\nBritish music-related lists\nSasha"
] |
[
"Ara Parseghian",
"Turnaround and the 1964 season",
"Who was Parseghian playing for in the 1964 season?",
"Notre Dame",
"Did he help Notre Dame turn things around?",
"Parseghian told his coaches that the team would have a 6-4 record if they were lucky.",
"Did they go on to lose lots of games that season?",
"October. The team went undefeated until the last game of the year against USC,",
"What happened in that game against USC?",
"who won 20-17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman.",
"Who was playing on the team during that 1964 season besides Fertig and Sherman?",
"Huarte",
"Were there any other notable team members?",
"Snow",
"Did Parsehian win any coaching awards that season?",
"won numerous coach of the year awards for engineering the turnaround,",
"What were some of the awards that he won?",
"including from the American Football Coaches Association, the Football Writers Association of America,",
"What other awards did he receive?",
"the Washington Touchdown Club, the Columbus Touchdown Club, and Football News."
] |
C_1e66a6211d784ba18bc7471bef2b90d6_1
|
Were there any problems or controversies during the season?
| 10 |
Did Parseghian experience any problems or controversies during that 1964 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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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.
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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
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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
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American Presbyterians
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"The 22nd season of Arthur started airing on PBS Kids in the United States from May 13, 2019 to May 16, 2019. Jane Lynch guest starred on the episode \"Mr. Ratburn and the Special Someone.\" Roman Lutterotti replaced Jacob Ursomarzo as Arthur, Ethan Pugiotto replaced Christian Distefano as D.W., and Evan Blaylock replaced Max Friedman Cole as Brain. The season originally stated to have 7 episodes, but it was later confirmed that the last three episodes are a part of the next season.\n\nEpisodes\n\nReferences\n\n2019 American television seasons\n2019 Canadian television seasons\n2019 controversies in the United States\nAnimation controversies in television\nLGBT-related controversies in animation\nLGBT-related controversies in television\nArthur (TV series) seasons"
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"Hey Jude",
"Awards and accolades"
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C_a72e694aae574dd9892050d1ae182388_0
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what awards did they receiev?
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what awards did Hey Jude receive?
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Hey Jude
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"Hey Jude" was nominated for the Grammy Awards of 1969 in the categories of Record of the Year, Song of the Year and Best Pop Performance by a Duo or Group with Vocal, but failed to win any of them. In the 1968 NME Readers' Poll, "Hey Jude" was named the best single of the year, and the song also won the 1968 Ivor Novello Award for "A-Side With the Highest Sales". In 2001, "Hey Jude" was inducted into the National Academy of Recording Arts and Sciences Grammy Hall of Fame. In 2004, Rolling Stone ranked "Hey Jude" at number eight on the "500 Greatest Songs of All Time", making it the highest-placed Beatles song on the list. Among its many appearances in other best-song-of-all-time lists, VH1 placed it seventh in 2000 and Mojo ranked it at number 29 in the same year, having placed the song seventh in a 1997 list of "The 100 Greatest Singles of All Time". In 1976, the NME ranked it 38th on the magazine's "Top 100 Singles of All Time", and the track appeared at number 77 on the same publication's "The 500 Greatest Songs of All Time" in 2014. In January 2001, "Hey Jude" came in third on Channel 4's list of the "100 Greatest Singles". The Amusement & Music Operators Association ranks "Hey Jude" as the 11th-best jukebox single of all time. In 2008, the song appeared in eighth place on Billboard's "All Time Hot 100 Songs". In July 2006, Mojo placed "Hey Jude" at number 12 on its list of "The 101 Greatest Beatles Songs" (between "Eleanor Rigby" and "Come Together"). On a similar list compiled four years later, Rolling Stone ranked the song at number seven. In 2015, the ITV program The Nation's Favourite Beatles Number One ranked "Hey Jude" in first place. CANNOTANSWER
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nominated for the Grammy Awards of 1969
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"Hey Jude" is a song by the English rock band the Beatles that was released as a non-album single in August 1968. It was written by Paul McCartney and credited to the Lennon–McCartney partnership. The single was the Beatles' first release on their Apple record label and one of the "First Four" singles by Apple's roster of artists, marking the label's public launch. "Hey Jude" was a number-one hit in many countries around the world and became the year's top-selling single in the UK, the US, Australia and Canada. Its nine-week run at number one on the Billboard Hot 100 tied the all-time record in 1968 for the longest run at the top of the US charts, a record it held for nine years. It has sold approximately eight million copies and is frequently included on music critics' lists of the greatest songs of all time.
The writing and recording of "Hey Jude" coincided with a period of upheaval in the Beatles. The ballad evolved from "Hey Jules", a song McCartney wrote to comfort John Lennon's young son Julian, after Lennon had left his wife for the Japanese artist Yoko Ono. The lyrics espouse a positive outlook on a sad situation, while also encouraging "Jude" to pursue his opportunities to find love. After the fourth verse, the song shifts to a coda featuring a "Na-na-na na" refrain that lasts for over four minutes.
"Hey Jude" was the first Beatles song to be recorded on eight-track recording equipment. The sessions took place at Trident Studios in central London, midway through the recording of the group's self-titled double album (also known as the "White Album"), and led to an argument between McCartney and George Harrison over the song's guitar part. Ringo Starr later left the band only to return shortly before they filmed the promotional clip for the single. The clip was directed by Michael Lindsay-Hogg and first aired on David Frost's UK television show. Contrasting with the problems afflicting the band, this performance captured the song's theme of optimism and togetherness by featuring the studio audience joining the Beatles as they sang the coda.
At over seven minutes in length, "Hey Jude" was the longest single to top the British charts up to that time. Its arrangement and extended coda encouraged many imitative works through to the early 1970s. In 2013, Billboard magazine named it the 11th "biggest" song of all time in terms of chart success. McCartney has continued to perform "Hey Jude" in concert since Lennon's death in 1980, leading audiences in singing the coda. Julian Lennon and McCartney have each bid successfully at auction for items of memorabilia related to the song's creation.
Inspiration and writing
In May 1968, John Lennon and his wife Cynthia separated due to his affair with Japanese artist Yoko Ono. The following month, Paul McCartney drove out to visit the Lennons' five-year-old son Julian, at Kenwood, the family's home in Weybridge. Cynthia had been part of the Beatles' social circle since before the band's rise to fame in 1963; McCartney later said he found it "a bit much for them suddenly to be personae non gratae and out of my life". Cynthia Lennon recalled of McCartney's surprise visit: "I was touched by his obvious concern for our welfare ... On the journey down he composed 'Hey Jude' in the car. I will never forget Paul's gesture of care and concern in coming to see us." The song's original title was "Hey Jules", and it was intended to comfort Julian from the stress of his parents' separation. McCartney said, "I knew it was not going to be easy for him", and that he changed the name to "Jude" "because I thought that sounded a bit better".
According to music journalist Chris Hunt, in the weeks after writing the song, McCartney "test[ed] his latest composition on anyone too polite to refuse. And that meant everyone." On 30 June, after recording the Black Dyke Mills Band's rendition of his instrumental "Thingumybob" in Yorkshire, McCartney stopped at the village of Harrold in Bedfordshire and performed "Hey Jude" at a local pub. He also regaled members of the Bonzo Dog Band with the song while producing their single "I'm the Urban Spaceman", in London, and interrupted a recording session by the Barron Knights to do the same. Ron Griffith of the group the Iveys – soon to be known as Badfinger and, like the Black Dyke Mills Band, an early signing to the Beatles' new record label Apple Records – recalled that on one of their first days in the studio, McCartney "gave us a full concert rendition of 'Hey Jude'".
The intensity of Lennon and Ono's relationship made any songwriting collaboration between Lennon and McCartney impossible. Keen to support his friend nevertheless, McCartney let the couple stay at his house in St John's Wood, but when Lennon discovered a note written by McCartney containing disparaging and racist comments about Ono, the couple moved out. McCartney presented "Hey Jude" to Lennon on 26 July, when he and Ono visited McCartney's home. McCartney assured him that he would "fix" the line "the movement you need is on your shoulder", reasoning that "it's a stupid expression; it sounds like a parrot." According to McCartney, Lennon replied: "You won't, you know. That's the best line in the song." McCartney retained the phrase. Although McCartney originally wrote "Hey Jude" for Julian, Lennon thought it had actually been written for him. In a 1980 interview, Lennon stated that he "always heard it as a song to me" and contended that, on one level, McCartney was giving his blessing to Lennon and Ono's relationship, while, on another, he was disappointed to be usurped as Lennon's friend and creative partner.
Other people believed McCartney wrote the song about them, including Judith Simons, a journalist with the Daily Express. Still others, including Lennon, have speculated that in the lyrics to "Hey Jude", McCartney's failing long-term relationship with Jane Asher provided an unconscious "message to himself". McCartney and Asher had announced their engagement on 25 December 1967, yet he began an affair with Linda Eastman in June 1968; that same month, Francie Schwartz, an American who was in London to discuss a film proposal with Apple, began living with McCartney in St John's Wood. When Lennon mentioned that he thought the song was about him and Ono, McCartney denied it and told Lennon he had written the song about himself.
Author Mark Hertsgaard has commented that "many of the song's lyrics do seem directed more at a grown man on the verge of a powerful new love, especially the lines 'you have found her now go and get her' and 'you're waiting for someone to perform with.'" Music critic and author Tim Riley writes: "If the song is about self-worth and self-consolation in the face of hardship, the vocal performance itself conveys much of the journey. He begins by singing to comfort someone else, finds himself weighing his own feelings in the process, and finally, in the repeated refrains that nurture his own approbation, he comes to believe in himself."
Production
EMI rehearsals
Having earmarked the song for release as a single, the Beatles recorded "Hey Jude" during the sessions for their self-titled double album, commonly known as "the White Album". The sessions were marked by an element of discord within the group for the first time, partly as a result of Ono's constant presence at Lennon's side. The strained relations were also reflective of the four band members' divergence following their communal trip to Rishikesh in the spring of 1968 to study Transcendental Meditation.
The Beatles first taped 25 takes of the song at EMI Studios in London over two nights, 29 and 30 July 1968, with George Martin as their producer. These dates served as rehearsals, however, since they planned to record the master track at Trident Studios to utilise their eight-track recording machine (EMI was still limited to four-tracks). The first two takes from 29 July, which author and critic Kenneth Womack describes as a "jovial" session, have been released on the 50th Anniversary box set of the White Album in 2018 and the Anthology 3 compilation in 1996, respectively.
The 30 July rehearsals were filmed for a short documentary titled Music!, which was produced by the National Music Council of Great Britain. This was the first time that the Beatles had permitted a camera crew to film them developing a song in the studio. The film shows only three of the Beatles performing "Hey Jude", as George Harrison remained in the studio control room, with Martin and EMI recording engineer Ken Scott. During the rehearsals that day, Harrison and McCartney had a heated disagreement over the lead guitar part for the song. Harrison's idea was to play a guitar phrase as a response to each line of the vocal, which did not fit with McCartney's conception of the song's arrangement, and he vetoed it. Author Simon Leng views this as indicative of how Harrison was increasingly allowed little room to develop ideas on McCartney compositions, whereas he was free to create empathetic guitar parts for Lennon's songs of the period. In a 1994 interview, McCartney said, "looking back on it, I think, Okay. Well, it was bossy, but it was ballsy of me, because I could have bowed to the pressure." Ron Richards, a record producer who worked for Martin at both Parlophone and AIR Studios, said McCartney was "oblivious to anyone else's feelings in the studio", and that he was driven to making the best possible record, at almost any cost.
Trident Studios recording
The Beatles recorded the master track for "Hey Jude" at Trident, where McCartney and Harrison had each produced sessions for their Apple artists, on 31 July. Trident's founder, Norman Sheffield, recalled that Mal Evans, the Beatles' aide and former roadie, insisted that some marijuana plants he had brought be placed in the studio to make the place "soft", consistent with the band's wishes. Barry Sheffield served as recording engineer for the session. The line-up on the basic track was McCartney on piano and lead vocal, Lennon on acoustic guitar, Harrison on electric guitar, and Ringo Starr on drums. The Beatles recorded four takes of "Hey Jude", the first of which was selected as the master. With drums intended to be absent for the first two verses, McCartney began this take unaware that Starr had just left for a toilet break. Starr soon returned – "tiptoeing past my back rather quickly", in McCartney's recollection – and performed his cue perfectly.
On 1 August, the group carried out overdubs on the basic track, again at Trident. These additions included McCartney's lead vocal and bass guitar; backing vocals from Lennon, McCartney and Harrison; and tambourine, played by Starr. McCartney's vocal over the long coda, starting at around three minutes into the song, included a series of improvised shrieks that he later described as "Cary Grant on heat!" They then added a 36-piece orchestra over the coda, scored by Martin. The orchestra consisted of ten violins, three violas, three cellos, two flutes, one contra bassoon, one bassoon, two clarinets, one contra bass clarinet, four trumpets, four trombones, two horns, percussion and two string basses. According to Norman Sheffield, there was dissension initially among the orchestral musicians, some of whom "were looking down their noses at the Beatles, I think". Sheffield recalls that McCartney ensured their cooperation by demanding: "Do you guys want to get fucking paid or not?" During the first few takes, McCartney was unhappy about the lack of energy and passion in the orchestra's performance, so he stood up on the grand piano and started conducting the musicians from there.
The Beatles then asked the orchestra members if they would clap their hands and sing along to the refrain in the coda. All but one of the musicians complied (for a double fee), with the abstainer reportedly saying, "I'm not going to clap my hands and sing Paul McCartney's bloody song!" Apple Records assistant Chris O'Dell says she joined the cast of backing singers on the song; one of the label's first signings, Jackie Lomax, also recalled participating.
"Hey Jude" was the first Beatles song to be recorded on eight-track equipment. Trident Studios were paid £25 per hour by EMI for the sessions. Sheffield said that the studio earned about £1,000 in total, but by having the Beatles record there, and in turn raving about the facility, the value was incalculable. The band carried out further work at Trident during 1968, and Apple artists such as Lomax, Mary Hopkin, Billy Preston and the Iveys all recorded there over the next year.
Mixing
Scott, Martin and the Beatles mixed the finished recording at Abbey Road. The transfer of the Trident master tape to acetate proved problematic due to the recording sounding murky when played back on EMI's equipment. The issue was resolved with the help of Geoff Emerick, whom Scott had recently replaced as the Beatles' principal recording engineer. Emerick happened to be visiting Abbey Road, having recently refused to work with the Beatles any longer, due to the tension and abuse that had become commonplace at their recording sessions. A stereo mix of "Hey Jude" was then completed on 2 August and the mono version on 8 August.
Musicologist Walter Everett writes that the song's "most commented-on feature" is its considerable length, at 7:11. Like McCartney, Martin was concerned that radio stations would not play the track because of the length, but Lennon insisted: "They will if it's us." According to Ken Mansfield, Apple's US manager, McCartney remained unconvinced until Mansfield previewed the record for some American disc jockeys and reported that they were highly enthusiastic about the song. "Hey Jude" was one second longer than Richard Harris's recent hit recording of "MacArthur Park", the composer of which, Jimmy Webb, was a visitor to the studio around this time. According to Webb, Martin admitted to him that "Hey Jude" was only allowed to run over seven minutes because of the success of "MacArthur Park". Pleased with the result, McCartney played an acetate copy of "Hey Jude" at a party held by Mick Jagger, at Vesuvio's nightclub in central London, to celebrate the completion of the Rolling Stones' Beggars Banquet album. The song upstaged the Stones' album and, in author John Winn's description, "reportedly ruin[ed]" the party.
In the song's final bridge section, at 2:58, the spoken phrase "Fucking hell!" appears, uttered by Lennon. Scott admits that although he was told about it, he could not hear the words originally. Malcolm Toft, the mix engineer on the Trident recording, recalled that Lennon was overdubbing his harmony vocal when, in reaction to the volume being too loud in his headphones, he first called out "Whoa!" then, two seconds later, swore as he pulled the headphones off.
Composition and structure
"Hey Jude" begins with McCartney singing lead vocals and playing the piano. The patterns he plays are based on three chords: F, C and B (I, V and IV). The main chord progression is "flipped on its head", in Hertsgaard's words, for the coda, since the C chord is replaced by E. Everett comments that McCartney's melody over the verses borrows in part from John Ireland's 1907 liturgical piece Te Deum, as well as (with the first change to a B chord) suggesting the influence of the Drifters' 1960 hit "Save the Last Dance for Me".
The second verse of the song adds accompaniment from acoustic guitar and tambourine. Tim Riley writes that, with the "restrained tom-tom and cymbal fill" that introduces the drum part, "the piano shifts downward to add a flat seventh to the tonic chord, making the downbeat of the bridge the point of arrival ('And any time you feel the pain)." At the end of each bridge, McCartney sings a brief phrase ("Na-na-na na …"), supported by an electric guitar fill, before playing a piano fill that leads to the next verse. According to Riley, this vocal phrase serves to "reorient the harmony for the verse as the piano figure turns upside down into a vocal aside". Additional musical details, such as tambourine on the third verse and subtle harmonies accompanying the lead vocal, are added to sustain interest throughout the four-verse, two-bridge song.
The verse-bridge structure persists for approximately three minutes, after which the band leads into a four-minute-long coda, consisting of nineteen rounds of the song's double plagal cadence. During this coda, the rest of the band, backed by an orchestra that also provides backing vocals, repeats the phrase "Na-na-na na" followed by the words "hey Jude" until the song gradually fades out. In his analysis of the composition, musicologist Alan Pollack comments on the unusual structure of "Hey Jude", in that it uses a "binary form that combines a fully developed, hymn-like song together with an extended, mantra-like jam on a simple chord progression".
Riley considers that the coda's repeated chord sequence (I–VII–IV–I) "answers all the musical questions raised at the beginnings and ends of bridges", since "The flat seventh that posed dominant turns into bridges now has an entire chord built on it." This three-chord refrain allows McCartney "a bedding ... to leap about on vocally", so he ad-libs his vocal performance for the rest of the song. In Riley's estimation, the song "becomes a tour of Paul's vocal range: from the graceful inviting tones of the opening verse, through the mounting excitement of the song itself, to the surging raves of the coda".
Release
"Hey Jude" was released on a 7-inch single on 26 August 1968 in the United States and 30 August in the United Kingdom, backed with "Revolution" on the B-side. It was one of four singles issued simultaneously to launch Apple Records – the others being Mary Hopkin's "Those Were the Days", Jackie Lomax's "Sour Milk Sea", and the Black Dyke Mills Band's "Thingumybob". In advance of the release date, Apple declared 11–18 August to be "National Apple Week" in the UK, and sent gift-wrapped boxes of the records, marked "Our First Four", to Queen Elizabeth II and other members of the royal family, and to Harold Wilson, the prime minister. The release was promoted by Derek Taylor, who, in author Peter Doggett's description, "hyped the first Apple records with typical elan". "Hey Jude" was the first of the four singles, since it was still designated as an EMI/Parlophone release in the UK and a Capitol release in the US, but with the Apple Records logo now added. In the US, "Hey Jude" was the first Capitol-distributed Beatles single to be issued without a picture sleeve. Instead, the record was presented in a black sleeve bearing the words "The Beatles on Apple".
Author Philip Norman comments that aside from "Sour Milk Sea", which Harrison wrote and produced, the first Apple A-sides were all "either written, vocalised, discovered or produced" by McCartney. Lennon wanted "Revolution" to be the A-side of the Beatles single, but his bandmates opted for "Hey Jude". In his 1970 interview with Rolling Stone, he said "Hey Jude" was worthy of an A-side, "but we could have had both." In 1980, he told Playboy he still disagreed with the decision.
Doggett describes "Hey Jude" as a song that "glowed with optimism after a summer that had burned with anxiety and rage within the group and in the troubled world beyond". The single's release coincided with the violent subjugation of Vietnam War protestors at the Democratic National Convention in Chicago, and condemnation in the West of the Soviet-led invasion of Czechoslovakia and its crushing of attempts to introduce democratic reforms there. In this climate, Lennon's espousal of a pacifist agenda over violent confrontation in "Revolution" drew heavy criticism from New Left activists. By contrast, with its more universal message, "Hey Jude" was adopted as an anthem by Czech citizens in their struggle.
The song was first released on an album in February 1970, as the title track to Capitol's North American compilation Hey Jude. The album was conceived as a way to generate income for the Beatles by Allen Klein, the American businessman who, despite McCartney's strong opposition, the other Beatles had appointed to manage the ailing Apple organisation in 1969. "Hey Jude" subsequently appeared on the compilation albums 1967–1970, 20 Greatest Hits, Past Masters, Volume Two and 1.
Promotion
Apple shop window graffiti
A failed early promotional attempt for the single took place after the Beatles' all-night recording session on 7–8 August 1968. With Apple Boutique having closed a week before, McCartney and Francie Schwartz painted Hey Jude/Revolution across its large, whitewashed shop windows. The words were mistaken for antisemitic graffiti (since Jude means "Jew" in German), leading to complaints from the local Jewish community, and the windows being smashed by a passer-by.
Discussing the episode in The Beatles Anthology, McCartney explained that he had been motivated by the location – "Great opportunity. Baker Street, millions of buses going around…" – and added: "I had no idea it meant 'Jew', but if you look at footage of Nazi Germany, Juden Raus was written in whitewashed windows with a Star of David. I swear it never occurred to me." According to Barry Miles, McCartney caused further controversy in his comments to Alan Smith of the NME that month, when, in an interview designed to promote the single, he said: "Starvation in India doesn't worry me one bit, not one iota … And it doesn't worry you, if you're honest. You just pose."
Promotional film
The Beatles hired Michael Lindsay-Hogg to shoot promotional clips for "Hey Jude" and "Revolution", after he had previously directed the clips for "Paperback Writer" and "Rain" in 1966. For "Hey Jude", they settled on the idea of shooting with a live, albeit controlled, audience. In the clip, the Beatles are first seen by themselves, performing the initial chorus and verses, before the audience moves forward and joins them in singing the coda. The decision was made to hire an orchestra and for the vocals to be sung live, to circumvent the Musicians' Union's ban on miming on television, but otherwise the Beatles performed to a backing track. Lindsay-Hogg shot the clip at Twickenham Film Studios on 4 September 1968. Tony Bramwell, a friend of the Beatles, later described the set as "the piano, there; drums, there; and orchestra in two tiers at the back." The event marked Starr's return to the group, after McCartney's criticism of his drumming had led to him walking out during a session for the White Album track "Back in the U.S.S.R." Starr was absent for two weeks.
The final edit was a combination of two different takes and included "introductions" to the song by David Frost (who introduced the Beatles as "the greatest tea-room orchestra in the world") and Cliff Richard, for their respective TV programmes. It first aired in the UK on Frost on Sunday on 8 September 1968, two weeks after Lennon and Ono had appeared on the show to promote their views on performance art and the avant-garde. The "Hey Jude" clip was broadcast in the United States on The Smothers Brothers Comedy Hour on 6 October.
According to Riley, the Frost on Sunday broadcast "kicked 'Hey Jude' into the stratosphere" in terms of popularity. Norman comments that it evoked "palpable general relief" for viewers who had watched Frost's show two weeks before, as Lennon now adopted a supporting role to McCartney, and Ono was "nowhere in sight". Hertsgaard pairs the band's performance with the release of the animated film Yellow Submarine as two events that created "a state of nirvana" for Beatles fans, in contrast with the problems besetting the band regarding Ono's influence and Apple. Referring to the sight of the Beatles engulfed by a crowd made up of "young, old, male, female, black, brown, and white" fans, Hertsgaard describes the promotional clip as "a quintessential sixties moment, a touching tableau of contentment and togetherness".
The 4 September 1968 promo clip is included in the Beatles' 2015 video compilation 1, while the three-disc versions of that compilation, titled 1+, also include an alternate video, with a different introduction and vocal, from the same date.
Critical reception
In his contemporary review of the single, Derek Johnson of the NME wrote: "The intriguing features of 'Hey Jude' are its extreme length and the 40-piece orchestral accompaniment – and personally I would have preferred it without either!" While he viewed the track overall as "a beautiful, compelling song", and the first three minutes as "absolutely sensational", Johnson rued the long coda's "vocal improvisations on the basically repetitive four-bar chorus". Johnson nevertheless concluded that "Hey Jude" and "Revolution" "prove beyond a shadow of a doubt that the Beatles are still streets ahead of their rivals". Chris Welch of Melody Maker said he had initially been unimpressed, but came to greatly admire "Hey Jude" for its "slow, heavy, piano-ridden beat, sensuous, soulful vocals and nice thumpy drums". He added that the track would have benefited from being edited in length, as the climactic ending was "a couple of minutes too long".
Cash Boxs reviewer said that the extended fadeout, having been a device pioneered by the Beatles on "All You Need Is Love", "becomes something of an art form" in "Hey Jude", comprising a "trance-like ceremonial that becomes almost timeless in its continuity". Time magazine described it as "a fadeout that engagingly spoofs the fadeout as a gimmick for ending pop records". The reviewer contrasted "Hey Jude" with "Revolution", saying that McCartney's song "urges activism of a different sort" by "liltingly exhort[ing] a friend to overcome his fears and commit himself in love". Catherine Manfredi of Rolling Stone also read the lyrics as a message from McCartney to Lennon to end his negative relationships with women: "to break the old pattern; to really go through with love". Manfredi commented on the duality of the song's eponymous protagonist as a representation of good, in Saint Jude, "the Patron of that which is called Impossible", and of evil, in Judas Iscariot. Other commentators interpreted "Hey Jude" as being directed at Bob Dylan, then semi-retired in Woodstock.
Writing in 1971, Robert Christgau of The Village Voice called it "one of [McCartney's] truest and most forthright love songs" and said that McCartney's romantic side was ill-served by the inclusion of "'I Will', a piece of fluff" on The Beatles. In their 1975 book The Beatles: An Illustrated Record, critics Roy Carr and Tony Tyler wrote that "Hey Jude" "promised great things" for the ill-conceived Apple enterprise and described the song as "the last great Beatles single recorded specifically for the 45s market". They commented also that "the epic proportions of the piece" encouraged many imitators, yet these other artists "[failed] to capture the gentleness and sympathy of the Beatles' communal feel". Walter Everett admires the melody as a "marvel of construction, contrasting wide leaps with stepwise motions, sustained tones with rapid movement, syllabic with melismatic word-setting, and tension ... with resolution". He cites Van Morrison's "Astral Weeks", Donovan's "Atlantis", the Moody Blues' "Never Comes the Day" and the Allman Brothers' "Revival" among the many songs with "mantralike repeated sections" that followed the release of "Hey Jude". In his entry for the song in his 1993 book Rock and Roll: The 100 Best Singles, Paul Williams describes it as a "song about breathing". He adds: "'Hey Jude' kicks ass like Van Gogh or Beethoven in their prime. It is, let's say, one of the wonders of this corner of creation ... It opens out like the sky at night or the idea of the existence of God."
Alan Pollack highlights the song as "such a good illustration of two compositional lessons – how to fill a large canvas with simple means, and how to use diverse elements such as harmony, bassline, and orchestration to articulate form and contrast." Pollack says that the long coda provides "an astonishingly transcendental effect", while AllMusic's Richie Unterberger similarly opines: "What could have very easily been boring is instead hypnotic because McCartney varies the vocal with some of the greatest nonsense scatting ever heard in rock, ranging from mantra-like chants to soulful lines to James Brown power screams." In his book Revolution in the Head, Ian MacDonald wrote that the "pseudo-soul shrieking in the fade-out may be a blemish" but he praised the song as "a pop/rock hybrid drawing on the best of both idioms". MacDonald concluded: "'Hey Jude' strikes a universal note, touching on an archetypal moment in male sexual psychology with a gentle wisdom one might properly call inspired." Lennon said the song was "one of [McCartney's] masterpieces".
Commercial performance
The single was a highly successful debut for Apple Records, a result that contrasted with the public embarrassment the band faced after the recent closure of their short-lived retail venture, Apple Boutique. In the description of music journalist Paul Du Noyer, the song's "monumental quality ... amazed the public in 1968"; in addition, the release silenced detractors in the British mainstream press who had relished the opportunity to criticise the band for their December 1967 television special, Magical Mystery Tour, and their trip to Rishikesh in early 1968. In the US, the single similarly brought an end to speculation that the Beatles' popularity might be diminishing, after "Lady Madonna" had peaked at number 4.
"Hey Jude" reached the top of Britain's Record Retailer chart (subsequently adopted as the UK Singles Chart) in September 1968. It lasted two weeks on top before being replaced by Hopkin's "Those Were the Days", which McCartney helped promote. "Hey Jude" was certified gold by the Recording Industry Association of America (RIAA) on 13 September; that same week, NME reported that two million copies of the single had been sold. The song entered the Billboard Hot 100 in the US on 14 September, beginning a nineteen-week chart run there. It reached number one on 28 September and held that position for nine weeks, for three of which "Those Were the Days" held the number-two spot. This was the longest run at number one for a single in the US until 1977. The song was the 16th number-one hit there for the Beatles. Billboard ranked it as the number-one song for 1968. In Australia, "Hey Jude" was number one for 13 weeks, which remained a record there until Abba's "Fernando" in 1976. It also topped the charts in Belgium, Brazil, Canada, Denmark, France, Ireland, Malaysia, the Netherlands, New Zealand, Norway, the Philippines, Singapore, Spain, Sweden, Switzerland and West Germany.
On 30 November 1968, NME reported that sales had reached nearly six million copies worldwide. By 1999, "Hey Jude" had sold an estimated eight million copies worldwide. That year, it was certified 4x platinum by the RIAA, representing four million units shipped in the US. As of December 2018, "Hey Jude" was the 54th-best-selling single of all time in the UK – one of six Beatles songs included on the top sales rankings published by the Official Charts Company.
Awards and accolades
"Hey Jude" was nominated for the Grammy Awards of 1969 in the categories of Record of the Year, Song of the Year and Best Pop Performance by a Duo or Group with Vocal, but failed to win any of them. In the 1968 NME Readers' Poll, "Hey Jude" was named the best single of the year, and the song also won the 1968 Ivor Novello Award for "A-Side With the Highest Sales". "Hey Jude" was inducted into the National Academy of Recording Arts and Sciences Grammy Hall of Fame in 2001 and it is one of the Rock and Roll Hall of Fame's "500 Songs That Shaped Rock & Roll".
In 2004, Rolling Stone ranked "Hey Jude" at number eight on the "500 Greatest Songs of All Time", making it the highest-placed Beatles song on the list; it dropped to number 89 in the 2021 revised list. Among its many appearances in other best-song-of-all-time lists, VH1 placed it ninth in 2000 and Mojo ranked it at number 29 in the same year, having placed the song seventh in a 1997 list of "The 100 Greatest Singles of All Time". In 1976, the NME ranked it 38th on the magazine's "Top 100 Singles of All Time", and the track appeared at number 77 on the same publication's "The 500 Greatest Songs of All Time" in 2014. In January 2001, "Hey Jude" came in third on Channel 4's list of the "100 Greatest Singles". The Amusement & Music Operators Association ranks "Hey Jude" as the 11th-best jukebox single of all time. In 2008, the song appeared in eighth place on Billboards "All Time Hot 100 Songs".
In July 2006, Mojo placed "Hey Jude" at number 12 on its list of "The 101 Greatest Beatles Songs". On a similar list compiled four years later, Rolling Stone ranked the song at number seven. In 2015, the ITV program The Nation's Favourite Beatles Number One ranked "Hey Jude" in first place. In 2018, the music staff of Time Out London ranked it at number 49 on their list of the best Beatles songs. Writing in the magazine, Nick Levine said: "Don't allow yourself to overlook this song because of its sheer ubiquity ... 'Hey Jude' is a huge-hearted, super-emotional epic that climaxes with one of pop's most legendary hooks."
Auctioned lyrics and memorabilia
In his 1996 article about the single's release, for Mojo, Paul Du Noyer said that the writing of "Hey Jude" had become "one of the best-known stories in Beatles folklore". In a 2005 interview, Ono said that for McCartney and for Julian and Cynthia Lennon, the scenario was akin to a drama, in that "Each person has something to be totally miserable about, because of the way they were put into this play. I have incredible sympathy for each of them." Du Noyer quoted Cynthia Lennon as saying of "Hey Jude", "it always bring tears to my eyes, that song."
Julian discovered that "Hey Jude" had been written for him almost 20 years after the fact. He recalled of his and McCartney's relationship: "Paul and I used to hang about quite a bit – more than Dad and I did. We had a great friendship going and there seems to be far more pictures of me and Paul playing together at that age than there are pictures of me and my dad." In 1996, Julian paid £25,000($33,958.25) for the recording notes to "Hey Jude" at an auction. He spent a further £35,000($47,543.65) at the auction, buying John Lennon memorabilia. John Cousins, Julian Lennon's manager, stated at the time: "He has a few photographs of his father, but not very much else. He is collecting for personal reasons; these are family heirlooms if you like."
In 2002, the original handwritten lyrics for the song were nearly auctioned off at Christie's in London. The sheet of notepaper with the scrawled lyrics had been expected to fetch up to £80,000($108,671.20) at the auction, which was scheduled for 30 April 2002. McCartney went to court to stop the auction, claiming the paper had disappeared from his West London home. Richard Morgan, representing Christie's, said McCartney had provided no evidence that he had ever owned the piece of paper on which the lyrics were written. The courts decided in McCartney's favour and prohibited the sale of the lyrics. They had been sent to Christie's for auction by Frenchman Florrent Tessier, who said he purchased the piece of paper at a street market stall in London for £10($13.58) in the early 1970s. In the original catalogue for the auction, Julian Lennon had written, "It's very strange to think that someone has written a song about you. It still touches me."
Along with "Yesterday", "Hey Jude" was one of the songs that McCartney has highlighted when attempting to have some of the official Beatles songwriting credits changed to McCartney–Lennon. McCartney applied the revised credit to this and 18 other Lennon–McCartney songs on his 2002 live album Back in the U.S., attracting criticism from Ono, as Lennon's widow, and from Starr, the only other surviving member of the Beatles.
Cover versions and McCartney live performances
In 1968, R&B singer Wilson Pickett released a cover recorded at Muscle Shoals Sound Studio, with a guitar part played by a young Duane Allman, who recommended the song to Pickett. Eric Clapton commented, "I remember hearing [it] and calling either Ahmet Ertegun or Tom Dowd and saying, 'Who's that guitar player?' ... To this day, I've never heard better rock guitar playing on an R&B record. It's the best." Session musician Jimmy Johnson, who played on the recording, said that Allman's solo "created Southern rock". Pickett's version reached number 23 on the Hot 100 and 13 on the Billboard R&B chart.
"Hey Jude" was one of the few Beatles songs that Elvis Presley covered, when he rehearsed the track at his 1969 Memphis sessions with producer Chips Moman, a recording that appeared on the 1972 album Elvis Now. A medley of "Yesterday" and "Hey Jude" was included on the 1999 reissue of Presley's 1970 live album On Stage. Katy Perry performed "Hey Jude" as part of the 2012 MusiCares Person of the Year concert honouring McCartney.
McCartney played "Hey Jude" throughout his 1989–90 world tour, his first tour since Lennon's murder in 1980. McCartney had considered including it as the closing song on his band Wings' 1975 tours, but decided that "it just didn't feel right." He has continued to feature the song in his concerts, leading the audience in organised singalongs whereby different segments of the crowd – such as those in a certain section of the venue, then only men followed by only the women – chant the "Na-na-na na" refrain.
McCartney performed "Hey Jude" in the White House East Room as part of a concert honoring him with the Library of Congress Gershwin Prize for Popular Song in June 2010.
McCartney also sang the song in the closing moments of the opening ceremony of the 2012 Summer Olympics hosted in London. On 4 August 2012, McCartney led the crowd in a rendition of "Hey Jude" while watching cycling at the velodrome.
Personnel
According to Ian MacDonald and Mark Lewisohn:
The Beatles
Paul McCartney– lead vocal, piano, bass guitar, handclaps
John Lennon– backing vocal, acoustic guitar, handclaps
George Harrison– backing vocal, electric guitar, handclaps
Ringo Starr– backing vocal, drums, tambourine, handclaps
Additional musicians
Uncredited 36-piece orchestra– 10 violins, three violas, three cellos, two double basses, two flutes, two clarinets, one bass clarinet, one bassoon, one contrabassoon, four trumpets, two horns, four trombones, and one percussion instrument; 35 of these musicians on additional backing vocals and handclaps
Charts
Weekly charts
Year-end charts
All-time charts
Certifications and sales
See also
Billboard Year-End Hot 100 singles of 1968
List of number-one singles in Australia during the 1960s
List of Top 25 singles for 1968 in Australia
List of Billboard Hot 100 number-one singles of 1968
List of Cash Box Top 100 number-one singles of 1968
List of number-one singles of 1968 (Canada)
List of Dutch Top 40 number-one singles of 1968
List of number-one hits of 1968 (Germany)
List of number-one singles of 1968 (Ireland)
List of number-one singles in 1968 (New Zealand)
List of number-one songs in Norway
List of number-one singles of 1968 (Spain)
List of number-one singles from 1968 to 1979 (Switzerland)
List of UK charts and number-one singles (1952–1969)
List of best-selling singles of the 1960s in the United Kingdom
"The Official BBC Children in Need Medley"
Notes
References
Sources
External links
Full lyrics for the song at the Beatles' official website
"David Frost Meets The Beatles" at Mojo4music.com
1968 songs
1968 singles
The Beatles songs
Apple Records singles
Songs written by Lennon–McCartney
Song recordings produced by George Martin
Songs published by Northern Songs
Music videos directed by Michael Lindsay-Hogg
Billboard Hot 100 number-one singles
Cashbox number-one singles
Dutch Top 40 number-one singles
Single Top 100 number-one singles
Irish Singles Chart number-one singles
Number-one singles in Australia
Number-one singles in Austria
Number-one singles in Germany
Number-one singles in New Zealand
Number-one singles in Norway
Number-one singles in Spain
Number-one singles in Switzerland
RPM Top Singles number-one singles
UK Singles Chart number-one singles
Ultratop 50 Singles (Flanders) number-one singles
Grammy Hall of Fame Award recipients
British pop rock songs
Pop ballads
Rock ballads
1960s ballads
Wilson Pickett songs
| true |
[
"The 1990 Brit Awards were the 10th edition of the biggest annual pop music awards in the United Kingdom. They are run by the British Phonographic Industry and took place on 18 February 1990. The ceremony was held at the Dominion Theatre in London for the first time, having previously been held at the Royal Albert Hall, and was hosted by Cathy McGowan.\n\nPerformances\nLisa Stansfield – \"All Around the World\"\nNeneh Cherry – \"Manchild\"\nNigel Kennedy – Vivaldi's Four Seasons\nVarious Artists with appearance by The Cookie Crew – \"The Brits 1990 (Dance Medley)\"\nPhil Collins – \"Another Day in Paradise\"\nSoul II Soul – What Is Soul II Soul\n\nWinners and nominees\n\nMultiple nominations and awards\nThe following artists received multiple awards and/or nominations. don't counting Outstanding Contribution to Music.\n\nNotable moments\n\nFreddie Mercury\nThe 1990 Brit Awards saw the final public appearance of Queen frontman Freddie Mercury. Queen appeared at the ceremony to receive the Brit Award for Outstanding Contribution to British Music. Mercury – who had been suffering from AIDS since 1987 but had not yet disclosed it to the public – did not make a speech, as Brian May did the talking on behalf of the other members, but his gaunt appearance was noticeable. He briefly thanked the public and wished them goodnight before Queen left the stage. Mercury died in November 1991 from complications resulting from AIDS.\n\nReferences\n\nExternal links\n1990 Brit Awards at Brits.co.uk\n\nBrit Awards\n1990 in British music\nBrit Awards\nBrit Awards\nBrit",
"A Man's Gotta Do is a 2004 Australian award winning film from Australian director, Chris Kennedy. The film stars John Howard.\n\nTagline \nMost men hold their head high, put their backs to the wall and do what they must do to give their family what they want.\n\nPlot \n\nIn A Man's Gotta Do, Eddy (John Howard), lives with his wife, Yvonne (Rebecca Frith), and their daughter, Chantelle (Alyssa McClelland), in a new suburb in the Illawarra part, south of Sydney.\n\nEddy is a fisherman by day, but by night he works as a standover man, literally a toe-cutter. Dominic, (Gyton Grantley), is his new offsider.\n\nChantelle is upset because her fiancé, Rudi, a Russian air conditioning specialist, has disappeared. Did her Dad have something to do with it?\n\nThe frustrated Yvonne begins flirting with Paul, the plumber, (Rohan Nicol). Eddy encourages Dominic to read his daughter's diary thinking that's the way to get a better understanding of her needs.\n\nReception\n\nReviews \nThe film received Mixed reviews. Australian TV show At the Movies gave it three and a half stars. It holds a 40 metascore, with the Village voice giving it 30/100\n\nAwards \nThe film wasn't nominated for many awards but did win the only award it was nominated for, a Golden Zenith for the Best film from Oceania at the Montreal Film Festival.\n\nReferences\n\nExternal links \n \n\nAustralian films\nAustralian comedy films\n2004 films\n2004 comedy films"
] |
[
"Hey Jude",
"Awards and accolades",
"what awards did they receiev?",
"nominated for the Grammy Awards of 1969"
] |
C_a72e694aae574dd9892050d1ae182388_0
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did it win any other awards?
| 2 |
did Hey Jude win any other awards, besides the Grammy Awards of 1969?
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Hey Jude
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"Hey Jude" was nominated for the Grammy Awards of 1969 in the categories of Record of the Year, Song of the Year and Best Pop Performance by a Duo or Group with Vocal, but failed to win any of them. In the 1968 NME Readers' Poll, "Hey Jude" was named the best single of the year, and the song also won the 1968 Ivor Novello Award for "A-Side With the Highest Sales". In 2001, "Hey Jude" was inducted into the National Academy of Recording Arts and Sciences Grammy Hall of Fame. In 2004, Rolling Stone ranked "Hey Jude" at number eight on the "500 Greatest Songs of All Time", making it the highest-placed Beatles song on the list. Among its many appearances in other best-song-of-all-time lists, VH1 placed it seventh in 2000 and Mojo ranked it at number 29 in the same year, having placed the song seventh in a 1997 list of "The 100 Greatest Singles of All Time". In 1976, the NME ranked it 38th on the magazine's "Top 100 Singles of All Time", and the track appeared at number 77 on the same publication's "The 500 Greatest Songs of All Time" in 2014. In January 2001, "Hey Jude" came in third on Channel 4's list of the "100 Greatest Singles". The Amusement & Music Operators Association ranks "Hey Jude" as the 11th-best jukebox single of all time. In 2008, the song appeared in eighth place on Billboard's "All Time Hot 100 Songs". In July 2006, Mojo placed "Hey Jude" at number 12 on its list of "The 101 Greatest Beatles Songs" (between "Eleanor Rigby" and "Come Together"). On a similar list compiled four years later, Rolling Stone ranked the song at number seven. In 2015, the ITV program The Nation's Favourite Beatles Number One ranked "Hey Jude" in first place. CANNOTANSWER
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failed to win any of them.
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"Hey Jude" is a song by the English rock band the Beatles that was released as a non-album single in August 1968. It was written by Paul McCartney and credited to the Lennon–McCartney partnership. The single was the Beatles' first release on their Apple record label and one of the "First Four" singles by Apple's roster of artists, marking the label's public launch. "Hey Jude" was a number-one hit in many countries around the world and became the year's top-selling single in the UK, the US, Australia and Canada. Its nine-week run at number one on the Billboard Hot 100 tied the all-time record in 1968 for the longest run at the top of the US charts, a record it held for nine years. It has sold approximately eight million copies and is frequently included on music critics' lists of the greatest songs of all time.
The writing and recording of "Hey Jude" coincided with a period of upheaval in the Beatles. The ballad evolved from "Hey Jules", a song McCartney wrote to comfort John Lennon's young son Julian, after Lennon had left his wife for the Japanese artist Yoko Ono. The lyrics espouse a positive outlook on a sad situation, while also encouraging "Jude" to pursue his opportunities to find love. After the fourth verse, the song shifts to a coda featuring a "Na-na-na na" refrain that lasts for over four minutes.
"Hey Jude" was the first Beatles song to be recorded on eight-track recording equipment. The sessions took place at Trident Studios in central London, midway through the recording of the group's self-titled double album (also known as the "White Album"), and led to an argument between McCartney and George Harrison over the song's guitar part. Ringo Starr later left the band only to return shortly before they filmed the promotional clip for the single. The clip was directed by Michael Lindsay-Hogg and first aired on David Frost's UK television show. Contrasting with the problems afflicting the band, this performance captured the song's theme of optimism and togetherness by featuring the studio audience joining the Beatles as they sang the coda.
At over seven minutes in length, "Hey Jude" was the longest single to top the British charts up to that time. Its arrangement and extended coda encouraged many imitative works through to the early 1970s. In 2013, Billboard magazine named it the 11th "biggest" song of all time in terms of chart success. McCartney has continued to perform "Hey Jude" in concert since Lennon's death in 1980, leading audiences in singing the coda. Julian Lennon and McCartney have each bid successfully at auction for items of memorabilia related to the song's creation.
Inspiration and writing
In May 1968, John Lennon and his wife Cynthia separated due to his affair with Japanese artist Yoko Ono. The following month, Paul McCartney drove out to visit the Lennons' five-year-old son Julian, at Kenwood, the family's home in Weybridge. Cynthia had been part of the Beatles' social circle since before the band's rise to fame in 1963; McCartney later said he found it "a bit much for them suddenly to be personae non gratae and out of my life". Cynthia Lennon recalled of McCartney's surprise visit: "I was touched by his obvious concern for our welfare ... On the journey down he composed 'Hey Jude' in the car. I will never forget Paul's gesture of care and concern in coming to see us." The song's original title was "Hey Jules", and it was intended to comfort Julian from the stress of his parents' separation. McCartney said, "I knew it was not going to be easy for him", and that he changed the name to "Jude" "because I thought that sounded a bit better".
According to music journalist Chris Hunt, in the weeks after writing the song, McCartney "test[ed] his latest composition on anyone too polite to refuse. And that meant everyone." On 30 June, after recording the Black Dyke Mills Band's rendition of his instrumental "Thingumybob" in Yorkshire, McCartney stopped at the village of Harrold in Bedfordshire and performed "Hey Jude" at a local pub. He also regaled members of the Bonzo Dog Band with the song while producing their single "I'm the Urban Spaceman", in London, and interrupted a recording session by the Barron Knights to do the same. Ron Griffith of the group the Iveys – soon to be known as Badfinger and, like the Black Dyke Mills Band, an early signing to the Beatles' new record label Apple Records – recalled that on one of their first days in the studio, McCartney "gave us a full concert rendition of 'Hey Jude'".
The intensity of Lennon and Ono's relationship made any songwriting collaboration between Lennon and McCartney impossible. Keen to support his friend nevertheless, McCartney let the couple stay at his house in St John's Wood, but when Lennon discovered a note written by McCartney containing disparaging and racist comments about Ono, the couple moved out. McCartney presented "Hey Jude" to Lennon on 26 July, when he and Ono visited McCartney's home. McCartney assured him that he would "fix" the line "the movement you need is on your shoulder", reasoning that "it's a stupid expression; it sounds like a parrot." According to McCartney, Lennon replied: "You won't, you know. That's the best line in the song." McCartney retained the phrase. Although McCartney originally wrote "Hey Jude" for Julian, Lennon thought it had actually been written for him. In a 1980 interview, Lennon stated that he "always heard it as a song to me" and contended that, on one level, McCartney was giving his blessing to Lennon and Ono's relationship, while, on another, he was disappointed to be usurped as Lennon's friend and creative partner.
Other people believed McCartney wrote the song about them, including Judith Simons, a journalist with the Daily Express. Still others, including Lennon, have speculated that in the lyrics to "Hey Jude", McCartney's failing long-term relationship with Jane Asher provided an unconscious "message to himself". McCartney and Asher had announced their engagement on 25 December 1967, yet he began an affair with Linda Eastman in June 1968; that same month, Francie Schwartz, an American who was in London to discuss a film proposal with Apple, began living with McCartney in St John's Wood. When Lennon mentioned that he thought the song was about him and Ono, McCartney denied it and told Lennon he had written the song about himself.
Author Mark Hertsgaard has commented that "many of the song's lyrics do seem directed more at a grown man on the verge of a powerful new love, especially the lines 'you have found her now go and get her' and 'you're waiting for someone to perform with.'" Music critic and author Tim Riley writes: "If the song is about self-worth and self-consolation in the face of hardship, the vocal performance itself conveys much of the journey. He begins by singing to comfort someone else, finds himself weighing his own feelings in the process, and finally, in the repeated refrains that nurture his own approbation, he comes to believe in himself."
Production
EMI rehearsals
Having earmarked the song for release as a single, the Beatles recorded "Hey Jude" during the sessions for their self-titled double album, commonly known as "the White Album". The sessions were marked by an element of discord within the group for the first time, partly as a result of Ono's constant presence at Lennon's side. The strained relations were also reflective of the four band members' divergence following their communal trip to Rishikesh in the spring of 1968 to study Transcendental Meditation.
The Beatles first taped 25 takes of the song at EMI Studios in London over two nights, 29 and 30 July 1968, with George Martin as their producer. These dates served as rehearsals, however, since they planned to record the master track at Trident Studios to utilise their eight-track recording machine (EMI was still limited to four-tracks). The first two takes from 29 July, which author and critic Kenneth Womack describes as a "jovial" session, have been released on the 50th Anniversary box set of the White Album in 2018 and the Anthology 3 compilation in 1996, respectively.
The 30 July rehearsals were filmed for a short documentary titled Music!, which was produced by the National Music Council of Great Britain. This was the first time that the Beatles had permitted a camera crew to film them developing a song in the studio. The film shows only three of the Beatles performing "Hey Jude", as George Harrison remained in the studio control room, with Martin and EMI recording engineer Ken Scott. During the rehearsals that day, Harrison and McCartney had a heated disagreement over the lead guitar part for the song. Harrison's idea was to play a guitar phrase as a response to each line of the vocal, which did not fit with McCartney's conception of the song's arrangement, and he vetoed it. Author Simon Leng views this as indicative of how Harrison was increasingly allowed little room to develop ideas on McCartney compositions, whereas he was free to create empathetic guitar parts for Lennon's songs of the period. In a 1994 interview, McCartney said, "looking back on it, I think, Okay. Well, it was bossy, but it was ballsy of me, because I could have bowed to the pressure." Ron Richards, a record producer who worked for Martin at both Parlophone and AIR Studios, said McCartney was "oblivious to anyone else's feelings in the studio", and that he was driven to making the best possible record, at almost any cost.
Trident Studios recording
The Beatles recorded the master track for "Hey Jude" at Trident, where McCartney and Harrison had each produced sessions for their Apple artists, on 31 July. Trident's founder, Norman Sheffield, recalled that Mal Evans, the Beatles' aide and former roadie, insisted that some marijuana plants he had brought be placed in the studio to make the place "soft", consistent with the band's wishes. Barry Sheffield served as recording engineer for the session. The line-up on the basic track was McCartney on piano and lead vocal, Lennon on acoustic guitar, Harrison on electric guitar, and Ringo Starr on drums. The Beatles recorded four takes of "Hey Jude", the first of which was selected as the master. With drums intended to be absent for the first two verses, McCartney began this take unaware that Starr had just left for a toilet break. Starr soon returned – "tiptoeing past my back rather quickly", in McCartney's recollection – and performed his cue perfectly.
On 1 August, the group carried out overdubs on the basic track, again at Trident. These additions included McCartney's lead vocal and bass guitar; backing vocals from Lennon, McCartney and Harrison; and tambourine, played by Starr. McCartney's vocal over the long coda, starting at around three minutes into the song, included a series of improvised shrieks that he later described as "Cary Grant on heat!" They then added a 36-piece orchestra over the coda, scored by Martin. The orchestra consisted of ten violins, three violas, three cellos, two flutes, one contra bassoon, one bassoon, two clarinets, one contra bass clarinet, four trumpets, four trombones, two horns, percussion and two string basses. According to Norman Sheffield, there was dissension initially among the orchestral musicians, some of whom "were looking down their noses at the Beatles, I think". Sheffield recalls that McCartney ensured their cooperation by demanding: "Do you guys want to get fucking paid or not?" During the first few takes, McCartney was unhappy about the lack of energy and passion in the orchestra's performance, so he stood up on the grand piano and started conducting the musicians from there.
The Beatles then asked the orchestra members if they would clap their hands and sing along to the refrain in the coda. All but one of the musicians complied (for a double fee), with the abstainer reportedly saying, "I'm not going to clap my hands and sing Paul McCartney's bloody song!" Apple Records assistant Chris O'Dell says she joined the cast of backing singers on the song; one of the label's first signings, Jackie Lomax, also recalled participating.
"Hey Jude" was the first Beatles song to be recorded on eight-track equipment. Trident Studios were paid £25 per hour by EMI for the sessions. Sheffield said that the studio earned about £1,000 in total, but by having the Beatles record there, and in turn raving about the facility, the value was incalculable. The band carried out further work at Trident during 1968, and Apple artists such as Lomax, Mary Hopkin, Billy Preston and the Iveys all recorded there over the next year.
Mixing
Scott, Martin and the Beatles mixed the finished recording at Abbey Road. The transfer of the Trident master tape to acetate proved problematic due to the recording sounding murky when played back on EMI's equipment. The issue was resolved with the help of Geoff Emerick, whom Scott had recently replaced as the Beatles' principal recording engineer. Emerick happened to be visiting Abbey Road, having recently refused to work with the Beatles any longer, due to the tension and abuse that had become commonplace at their recording sessions. A stereo mix of "Hey Jude" was then completed on 2 August and the mono version on 8 August.
Musicologist Walter Everett writes that the song's "most commented-on feature" is its considerable length, at 7:11. Like McCartney, Martin was concerned that radio stations would not play the track because of the length, but Lennon insisted: "They will if it's us." According to Ken Mansfield, Apple's US manager, McCartney remained unconvinced until Mansfield previewed the record for some American disc jockeys and reported that they were highly enthusiastic about the song. "Hey Jude" was one second longer than Richard Harris's recent hit recording of "MacArthur Park", the composer of which, Jimmy Webb, was a visitor to the studio around this time. According to Webb, Martin admitted to him that "Hey Jude" was only allowed to run over seven minutes because of the success of "MacArthur Park". Pleased with the result, McCartney played an acetate copy of "Hey Jude" at a party held by Mick Jagger, at Vesuvio's nightclub in central London, to celebrate the completion of the Rolling Stones' Beggars Banquet album. The song upstaged the Stones' album and, in author John Winn's description, "reportedly ruin[ed]" the party.
In the song's final bridge section, at 2:58, the spoken phrase "Fucking hell!" appears, uttered by Lennon. Scott admits that although he was told about it, he could not hear the words originally. Malcolm Toft, the mix engineer on the Trident recording, recalled that Lennon was overdubbing his harmony vocal when, in reaction to the volume being too loud in his headphones, he first called out "Whoa!" then, two seconds later, swore as he pulled the headphones off.
Composition and structure
"Hey Jude" begins with McCartney singing lead vocals and playing the piano. The patterns he plays are based on three chords: F, C and B (I, V and IV). The main chord progression is "flipped on its head", in Hertsgaard's words, for the coda, since the C chord is replaced by E. Everett comments that McCartney's melody over the verses borrows in part from John Ireland's 1907 liturgical piece Te Deum, as well as (with the first change to a B chord) suggesting the influence of the Drifters' 1960 hit "Save the Last Dance for Me".
The second verse of the song adds accompaniment from acoustic guitar and tambourine. Tim Riley writes that, with the "restrained tom-tom and cymbal fill" that introduces the drum part, "the piano shifts downward to add a flat seventh to the tonic chord, making the downbeat of the bridge the point of arrival ('And any time you feel the pain)." At the end of each bridge, McCartney sings a brief phrase ("Na-na-na na …"), supported by an electric guitar fill, before playing a piano fill that leads to the next verse. According to Riley, this vocal phrase serves to "reorient the harmony for the verse as the piano figure turns upside down into a vocal aside". Additional musical details, such as tambourine on the third verse and subtle harmonies accompanying the lead vocal, are added to sustain interest throughout the four-verse, two-bridge song.
The verse-bridge structure persists for approximately three minutes, after which the band leads into a four-minute-long coda, consisting of nineteen rounds of the song's double plagal cadence. During this coda, the rest of the band, backed by an orchestra that also provides backing vocals, repeats the phrase "Na-na-na na" followed by the words "hey Jude" until the song gradually fades out. In his analysis of the composition, musicologist Alan Pollack comments on the unusual structure of "Hey Jude", in that it uses a "binary form that combines a fully developed, hymn-like song together with an extended, mantra-like jam on a simple chord progression".
Riley considers that the coda's repeated chord sequence (I–VII–IV–I) "answers all the musical questions raised at the beginnings and ends of bridges", since "The flat seventh that posed dominant turns into bridges now has an entire chord built on it." This three-chord refrain allows McCartney "a bedding ... to leap about on vocally", so he ad-libs his vocal performance for the rest of the song. In Riley's estimation, the song "becomes a tour of Paul's vocal range: from the graceful inviting tones of the opening verse, through the mounting excitement of the song itself, to the surging raves of the coda".
Release
"Hey Jude" was released on a 7-inch single on 26 August 1968 in the United States and 30 August in the United Kingdom, backed with "Revolution" on the B-side. It was one of four singles issued simultaneously to launch Apple Records – the others being Mary Hopkin's "Those Were the Days", Jackie Lomax's "Sour Milk Sea", and the Black Dyke Mills Band's "Thingumybob". In advance of the release date, Apple declared 11–18 August to be "National Apple Week" in the UK, and sent gift-wrapped boxes of the records, marked "Our First Four", to Queen Elizabeth II and other members of the royal family, and to Harold Wilson, the prime minister. The release was promoted by Derek Taylor, who, in author Peter Doggett's description, "hyped the first Apple records with typical elan". "Hey Jude" was the first of the four singles, since it was still designated as an EMI/Parlophone release in the UK and a Capitol release in the US, but with the Apple Records logo now added. In the US, "Hey Jude" was the first Capitol-distributed Beatles single to be issued without a picture sleeve. Instead, the record was presented in a black sleeve bearing the words "The Beatles on Apple".
Author Philip Norman comments that aside from "Sour Milk Sea", which Harrison wrote and produced, the first Apple A-sides were all "either written, vocalised, discovered or produced" by McCartney. Lennon wanted "Revolution" to be the A-side of the Beatles single, but his bandmates opted for "Hey Jude". In his 1970 interview with Rolling Stone, he said "Hey Jude" was worthy of an A-side, "but we could have had both." In 1980, he told Playboy he still disagreed with the decision.
Doggett describes "Hey Jude" as a song that "glowed with optimism after a summer that had burned with anxiety and rage within the group and in the troubled world beyond". The single's release coincided with the violent subjugation of Vietnam War protestors at the Democratic National Convention in Chicago, and condemnation in the West of the Soviet-led invasion of Czechoslovakia and its crushing of attempts to introduce democratic reforms there. In this climate, Lennon's espousal of a pacifist agenda over violent confrontation in "Revolution" drew heavy criticism from New Left activists. By contrast, with its more universal message, "Hey Jude" was adopted as an anthem by Czech citizens in their struggle.
The song was first released on an album in February 1970, as the title track to Capitol's North American compilation Hey Jude. The album was conceived as a way to generate income for the Beatles by Allen Klein, the American businessman who, despite McCartney's strong opposition, the other Beatles had appointed to manage the ailing Apple organisation in 1969. "Hey Jude" subsequently appeared on the compilation albums 1967–1970, 20 Greatest Hits, Past Masters, Volume Two and 1.
Promotion
Apple shop window graffiti
A failed early promotional attempt for the single took place after the Beatles' all-night recording session on 7–8 August 1968. With Apple Boutique having closed a week before, McCartney and Francie Schwartz painted Hey Jude/Revolution across its large, whitewashed shop windows. The words were mistaken for antisemitic graffiti (since Jude means "Jew" in German), leading to complaints from the local Jewish community, and the windows being smashed by a passer-by.
Discussing the episode in The Beatles Anthology, McCartney explained that he had been motivated by the location – "Great opportunity. Baker Street, millions of buses going around…" – and added: "I had no idea it meant 'Jew', but if you look at footage of Nazi Germany, Juden Raus was written in whitewashed windows with a Star of David. I swear it never occurred to me." According to Barry Miles, McCartney caused further controversy in his comments to Alan Smith of the NME that month, when, in an interview designed to promote the single, he said: "Starvation in India doesn't worry me one bit, not one iota … And it doesn't worry you, if you're honest. You just pose."
Promotional film
The Beatles hired Michael Lindsay-Hogg to shoot promotional clips for "Hey Jude" and "Revolution", after he had previously directed the clips for "Paperback Writer" and "Rain" in 1966. For "Hey Jude", they settled on the idea of shooting with a live, albeit controlled, audience. In the clip, the Beatles are first seen by themselves, performing the initial chorus and verses, before the audience moves forward and joins them in singing the coda. The decision was made to hire an orchestra and for the vocals to be sung live, to circumvent the Musicians' Union's ban on miming on television, but otherwise the Beatles performed to a backing track. Lindsay-Hogg shot the clip at Twickenham Film Studios on 4 September 1968. Tony Bramwell, a friend of the Beatles, later described the set as "the piano, there; drums, there; and orchestra in two tiers at the back." The event marked Starr's return to the group, after McCartney's criticism of his drumming had led to him walking out during a session for the White Album track "Back in the U.S.S.R." Starr was absent for two weeks.
The final edit was a combination of two different takes and included "introductions" to the song by David Frost (who introduced the Beatles as "the greatest tea-room orchestra in the world") and Cliff Richard, for their respective TV programmes. It first aired in the UK on Frost on Sunday on 8 September 1968, two weeks after Lennon and Ono had appeared on the show to promote their views on performance art and the avant-garde. The "Hey Jude" clip was broadcast in the United States on The Smothers Brothers Comedy Hour on 6 October.
According to Riley, the Frost on Sunday broadcast "kicked 'Hey Jude' into the stratosphere" in terms of popularity. Norman comments that it evoked "palpable general relief" for viewers who had watched Frost's show two weeks before, as Lennon now adopted a supporting role to McCartney, and Ono was "nowhere in sight". Hertsgaard pairs the band's performance with the release of the animated film Yellow Submarine as two events that created "a state of nirvana" for Beatles fans, in contrast with the problems besetting the band regarding Ono's influence and Apple. Referring to the sight of the Beatles engulfed by a crowd made up of "young, old, male, female, black, brown, and white" fans, Hertsgaard describes the promotional clip as "a quintessential sixties moment, a touching tableau of contentment and togetherness".
The 4 September 1968 promo clip is included in the Beatles' 2015 video compilation 1, while the three-disc versions of that compilation, titled 1+, also include an alternate video, with a different introduction and vocal, from the same date.
Critical reception
In his contemporary review of the single, Derek Johnson of the NME wrote: "The intriguing features of 'Hey Jude' are its extreme length and the 40-piece orchestral accompaniment – and personally I would have preferred it without either!" While he viewed the track overall as "a beautiful, compelling song", and the first three minutes as "absolutely sensational", Johnson rued the long coda's "vocal improvisations on the basically repetitive four-bar chorus". Johnson nevertheless concluded that "Hey Jude" and "Revolution" "prove beyond a shadow of a doubt that the Beatles are still streets ahead of their rivals". Chris Welch of Melody Maker said he had initially been unimpressed, but came to greatly admire "Hey Jude" for its "slow, heavy, piano-ridden beat, sensuous, soulful vocals and nice thumpy drums". He added that the track would have benefited from being edited in length, as the climactic ending was "a couple of minutes too long".
Cash Boxs reviewer said that the extended fadeout, having been a device pioneered by the Beatles on "All You Need Is Love", "becomes something of an art form" in "Hey Jude", comprising a "trance-like ceremonial that becomes almost timeless in its continuity". Time magazine described it as "a fadeout that engagingly spoofs the fadeout as a gimmick for ending pop records". The reviewer contrasted "Hey Jude" with "Revolution", saying that McCartney's song "urges activism of a different sort" by "liltingly exhort[ing] a friend to overcome his fears and commit himself in love". Catherine Manfredi of Rolling Stone also read the lyrics as a message from McCartney to Lennon to end his negative relationships with women: "to break the old pattern; to really go through with love". Manfredi commented on the duality of the song's eponymous protagonist as a representation of good, in Saint Jude, "the Patron of that which is called Impossible", and of evil, in Judas Iscariot. Other commentators interpreted "Hey Jude" as being directed at Bob Dylan, then semi-retired in Woodstock.
Writing in 1971, Robert Christgau of The Village Voice called it "one of [McCartney's] truest and most forthright love songs" and said that McCartney's romantic side was ill-served by the inclusion of "'I Will', a piece of fluff" on The Beatles. In their 1975 book The Beatles: An Illustrated Record, critics Roy Carr and Tony Tyler wrote that "Hey Jude" "promised great things" for the ill-conceived Apple enterprise and described the song as "the last great Beatles single recorded specifically for the 45s market". They commented also that "the epic proportions of the piece" encouraged many imitators, yet these other artists "[failed] to capture the gentleness and sympathy of the Beatles' communal feel". Walter Everett admires the melody as a "marvel of construction, contrasting wide leaps with stepwise motions, sustained tones with rapid movement, syllabic with melismatic word-setting, and tension ... with resolution". He cites Van Morrison's "Astral Weeks", Donovan's "Atlantis", the Moody Blues' "Never Comes the Day" and the Allman Brothers' "Revival" among the many songs with "mantralike repeated sections" that followed the release of "Hey Jude". In his entry for the song in his 1993 book Rock and Roll: The 100 Best Singles, Paul Williams describes it as a "song about breathing". He adds: "'Hey Jude' kicks ass like Van Gogh or Beethoven in their prime. It is, let's say, one of the wonders of this corner of creation ... It opens out like the sky at night or the idea of the existence of God."
Alan Pollack highlights the song as "such a good illustration of two compositional lessons – how to fill a large canvas with simple means, and how to use diverse elements such as harmony, bassline, and orchestration to articulate form and contrast." Pollack says that the long coda provides "an astonishingly transcendental effect", while AllMusic's Richie Unterberger similarly opines: "What could have very easily been boring is instead hypnotic because McCartney varies the vocal with some of the greatest nonsense scatting ever heard in rock, ranging from mantra-like chants to soulful lines to James Brown power screams." In his book Revolution in the Head, Ian MacDonald wrote that the "pseudo-soul shrieking in the fade-out may be a blemish" but he praised the song as "a pop/rock hybrid drawing on the best of both idioms". MacDonald concluded: "'Hey Jude' strikes a universal note, touching on an archetypal moment in male sexual psychology with a gentle wisdom one might properly call inspired." Lennon said the song was "one of [McCartney's] masterpieces".
Commercial performance
The single was a highly successful debut for Apple Records, a result that contrasted with the public embarrassment the band faced after the recent closure of their short-lived retail venture, Apple Boutique. In the description of music journalist Paul Du Noyer, the song's "monumental quality ... amazed the public in 1968"; in addition, the release silenced detractors in the British mainstream press who had relished the opportunity to criticise the band for their December 1967 television special, Magical Mystery Tour, and their trip to Rishikesh in early 1968. In the US, the single similarly brought an end to speculation that the Beatles' popularity might be diminishing, after "Lady Madonna" had peaked at number 4.
"Hey Jude" reached the top of Britain's Record Retailer chart (subsequently adopted as the UK Singles Chart) in September 1968. It lasted two weeks on top before being replaced by Hopkin's "Those Were the Days", which McCartney helped promote. "Hey Jude" was certified gold by the Recording Industry Association of America (RIAA) on 13 September; that same week, NME reported that two million copies of the single had been sold. The song entered the Billboard Hot 100 in the US on 14 September, beginning a nineteen-week chart run there. It reached number one on 28 September and held that position for nine weeks, for three of which "Those Were the Days" held the number-two spot. This was the longest run at number one for a single in the US until 1977. The song was the 16th number-one hit there for the Beatles. Billboard ranked it as the number-one song for 1968. In Australia, "Hey Jude" was number one for 13 weeks, which remained a record there until Abba's "Fernando" in 1976. It also topped the charts in Belgium, Brazil, Canada, Denmark, France, Ireland, Malaysia, the Netherlands, New Zealand, Norway, the Philippines, Singapore, Spain, Sweden, Switzerland and West Germany.
On 30 November 1968, NME reported that sales had reached nearly six million copies worldwide. By 1999, "Hey Jude" had sold an estimated eight million copies worldwide. That year, it was certified 4x platinum by the RIAA, representing four million units shipped in the US. As of December 2018, "Hey Jude" was the 54th-best-selling single of all time in the UK – one of six Beatles songs included on the top sales rankings published by the Official Charts Company.
Awards and accolades
"Hey Jude" was nominated for the Grammy Awards of 1969 in the categories of Record of the Year, Song of the Year and Best Pop Performance by a Duo or Group with Vocal, but failed to win any of them. In the 1968 NME Readers' Poll, "Hey Jude" was named the best single of the year, and the song also won the 1968 Ivor Novello Award for "A-Side With the Highest Sales". "Hey Jude" was inducted into the National Academy of Recording Arts and Sciences Grammy Hall of Fame in 2001 and it is one of the Rock and Roll Hall of Fame's "500 Songs That Shaped Rock & Roll".
In 2004, Rolling Stone ranked "Hey Jude" at number eight on the "500 Greatest Songs of All Time", making it the highest-placed Beatles song on the list; it dropped to number 89 in the 2021 revised list. Among its many appearances in other best-song-of-all-time lists, VH1 placed it ninth in 2000 and Mojo ranked it at number 29 in the same year, having placed the song seventh in a 1997 list of "The 100 Greatest Singles of All Time". In 1976, the NME ranked it 38th on the magazine's "Top 100 Singles of All Time", and the track appeared at number 77 on the same publication's "The 500 Greatest Songs of All Time" in 2014. In January 2001, "Hey Jude" came in third on Channel 4's list of the "100 Greatest Singles". The Amusement & Music Operators Association ranks "Hey Jude" as the 11th-best jukebox single of all time. In 2008, the song appeared in eighth place on Billboards "All Time Hot 100 Songs".
In July 2006, Mojo placed "Hey Jude" at number 12 on its list of "The 101 Greatest Beatles Songs". On a similar list compiled four years later, Rolling Stone ranked the song at number seven. In 2015, the ITV program The Nation's Favourite Beatles Number One ranked "Hey Jude" in first place. In 2018, the music staff of Time Out London ranked it at number 49 on their list of the best Beatles songs. Writing in the magazine, Nick Levine said: "Don't allow yourself to overlook this song because of its sheer ubiquity ... 'Hey Jude' is a huge-hearted, super-emotional epic that climaxes with one of pop's most legendary hooks."
Auctioned lyrics and memorabilia
In his 1996 article about the single's release, for Mojo, Paul Du Noyer said that the writing of "Hey Jude" had become "one of the best-known stories in Beatles folklore". In a 2005 interview, Ono said that for McCartney and for Julian and Cynthia Lennon, the scenario was akin to a drama, in that "Each person has something to be totally miserable about, because of the way they were put into this play. I have incredible sympathy for each of them." Du Noyer quoted Cynthia Lennon as saying of "Hey Jude", "it always bring tears to my eyes, that song."
Julian discovered that "Hey Jude" had been written for him almost 20 years after the fact. He recalled of his and McCartney's relationship: "Paul and I used to hang about quite a bit – more than Dad and I did. We had a great friendship going and there seems to be far more pictures of me and Paul playing together at that age than there are pictures of me and my dad." In 1996, Julian paid £25,000($33,958.25) for the recording notes to "Hey Jude" at an auction. He spent a further £35,000($47,543.65) at the auction, buying John Lennon memorabilia. John Cousins, Julian Lennon's manager, stated at the time: "He has a few photographs of his father, but not very much else. He is collecting for personal reasons; these are family heirlooms if you like."
In 2002, the original handwritten lyrics for the song were nearly auctioned off at Christie's in London. The sheet of notepaper with the scrawled lyrics had been expected to fetch up to £80,000($108,671.20) at the auction, which was scheduled for 30 April 2002. McCartney went to court to stop the auction, claiming the paper had disappeared from his West London home. Richard Morgan, representing Christie's, said McCartney had provided no evidence that he had ever owned the piece of paper on which the lyrics were written. The courts decided in McCartney's favour and prohibited the sale of the lyrics. They had been sent to Christie's for auction by Frenchman Florrent Tessier, who said he purchased the piece of paper at a street market stall in London for £10($13.58) in the early 1970s. In the original catalogue for the auction, Julian Lennon had written, "It's very strange to think that someone has written a song about you. It still touches me."
Along with "Yesterday", "Hey Jude" was one of the songs that McCartney has highlighted when attempting to have some of the official Beatles songwriting credits changed to McCartney–Lennon. McCartney applied the revised credit to this and 18 other Lennon–McCartney songs on his 2002 live album Back in the U.S., attracting criticism from Ono, as Lennon's widow, and from Starr, the only other surviving member of the Beatles.
Cover versions and McCartney live performances
In 1968, R&B singer Wilson Pickett released a cover recorded at Muscle Shoals Sound Studio, with a guitar part played by a young Duane Allman, who recommended the song to Pickett. Eric Clapton commented, "I remember hearing [it] and calling either Ahmet Ertegun or Tom Dowd and saying, 'Who's that guitar player?' ... To this day, I've never heard better rock guitar playing on an R&B record. It's the best." Session musician Jimmy Johnson, who played on the recording, said that Allman's solo "created Southern rock". Pickett's version reached number 23 on the Hot 100 and 13 on the Billboard R&B chart.
"Hey Jude" was one of the few Beatles songs that Elvis Presley covered, when he rehearsed the track at his 1969 Memphis sessions with producer Chips Moman, a recording that appeared on the 1972 album Elvis Now. A medley of "Yesterday" and "Hey Jude" was included on the 1999 reissue of Presley's 1970 live album On Stage. Katy Perry performed "Hey Jude" as part of the 2012 MusiCares Person of the Year concert honouring McCartney.
McCartney played "Hey Jude" throughout his 1989–90 world tour, his first tour since Lennon's murder in 1980. McCartney had considered including it as the closing song on his band Wings' 1975 tours, but decided that "it just didn't feel right." He has continued to feature the song in his concerts, leading the audience in organised singalongs whereby different segments of the crowd – such as those in a certain section of the venue, then only men followed by only the women – chant the "Na-na-na na" refrain.
McCartney performed "Hey Jude" in the White House East Room as part of a concert honoring him with the Library of Congress Gershwin Prize for Popular Song in June 2010.
McCartney also sang the song in the closing moments of the opening ceremony of the 2012 Summer Olympics hosted in London. On 4 August 2012, McCartney led the crowd in a rendition of "Hey Jude" while watching cycling at the velodrome.
Personnel
According to Ian MacDonald and Mark Lewisohn:
The Beatles
Paul McCartney– lead vocal, piano, bass guitar, handclaps
John Lennon– backing vocal, acoustic guitar, handclaps
George Harrison– backing vocal, electric guitar, handclaps
Ringo Starr– backing vocal, drums, tambourine, handclaps
Additional musicians
Uncredited 36-piece orchestra– 10 violins, three violas, three cellos, two double basses, two flutes, two clarinets, one bass clarinet, one bassoon, one contrabassoon, four trumpets, two horns, four trombones, and one percussion instrument; 35 of these musicians on additional backing vocals and handclaps
Charts
Weekly charts
Year-end charts
All-time charts
Certifications and sales
See also
Billboard Year-End Hot 100 singles of 1968
List of number-one singles in Australia during the 1960s
List of Top 25 singles for 1968 in Australia
List of Billboard Hot 100 number-one singles of 1968
List of Cash Box Top 100 number-one singles of 1968
List of number-one singles of 1968 (Canada)
List of Dutch Top 40 number-one singles of 1968
List of number-one hits of 1968 (Germany)
List of number-one singles of 1968 (Ireland)
List of number-one singles in 1968 (New Zealand)
List of number-one songs in Norway
List of number-one singles of 1968 (Spain)
List of number-one singles from 1968 to 1979 (Switzerland)
List of UK charts and number-one singles (1952–1969)
List of best-selling singles of the 1960s in the United Kingdom
"The Official BBC Children in Need Medley"
Notes
References
Sources
External links
Full lyrics for the song at the Beatles' official website
"David Frost Meets The Beatles" at Mojo4music.com
1968 songs
1968 singles
The Beatles songs
Apple Records singles
Songs written by Lennon–McCartney
Song recordings produced by George Martin
Songs published by Northern Songs
Music videos directed by Michael Lindsay-Hogg
Billboard Hot 100 number-one singles
Cashbox number-one singles
Dutch Top 40 number-one singles
Single Top 100 number-one singles
Irish Singles Chart number-one singles
Number-one singles in Australia
Number-one singles in Austria
Number-one singles in Germany
Number-one singles in New Zealand
Number-one singles in Norway
Number-one singles in Spain
Number-one singles in Switzerland
RPM Top Singles number-one singles
UK Singles Chart number-one singles
Ultratop 50 Singles (Flanders) number-one singles
Grammy Hall of Fame Award recipients
British pop rock songs
Pop ballads
Rock ballads
1960s ballads
Wilson Pickett songs
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what accolades did Hey Jude receive?
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Hey Jude
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"Hey Jude" was nominated for the Grammy Awards of 1969 in the categories of Record of the Year, Song of the Year and Best Pop Performance by a Duo or Group with Vocal, but failed to win any of them. In the 1968 NME Readers' Poll, "Hey Jude" was named the best single of the year, and the song also won the 1968 Ivor Novello Award for "A-Side With the Highest Sales". In 2001, "Hey Jude" was inducted into the National Academy of Recording Arts and Sciences Grammy Hall of Fame. In 2004, Rolling Stone ranked "Hey Jude" at number eight on the "500 Greatest Songs of All Time", making it the highest-placed Beatles song on the list. Among its many appearances in other best-song-of-all-time lists, VH1 placed it seventh in 2000 and Mojo ranked it at number 29 in the same year, having placed the song seventh in a 1997 list of "The 100 Greatest Singles of All Time". In 1976, the NME ranked it 38th on the magazine's "Top 100 Singles of All Time", and the track appeared at number 77 on the same publication's "The 500 Greatest Songs of All Time" in 2014. In January 2001, "Hey Jude" came in third on Channel 4's list of the "100 Greatest Singles". The Amusement & Music Operators Association ranks "Hey Jude" as the 11th-best jukebox single of all time. In 2008, the song appeared in eighth place on Billboard's "All Time Hot 100 Songs". In July 2006, Mojo placed "Hey Jude" at number 12 on its list of "The 101 Greatest Beatles Songs" (between "Eleanor Rigby" and "Come Together"). On a similar list compiled four years later, Rolling Stone ranked the song at number seven. In 2015, the ITV program The Nation's Favourite Beatles Number One ranked "Hey Jude" in first place. CANNOTANSWER
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NME Readers' Poll, "Hey Jude" was named the best single of the year,
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"Hey Jude" is a song by the English rock band the Beatles that was released as a non-album single in August 1968. It was written by Paul McCartney and credited to the Lennon–McCartney partnership. The single was the Beatles' first release on their Apple record label and one of the "First Four" singles by Apple's roster of artists, marking the label's public launch. "Hey Jude" was a number-one hit in many countries around the world and became the year's top-selling single in the UK, the US, Australia and Canada. Its nine-week run at number one on the Billboard Hot 100 tied the all-time record in 1968 for the longest run at the top of the US charts, a record it held for nine years. It has sold approximately eight million copies and is frequently included on music critics' lists of the greatest songs of all time.
The writing and recording of "Hey Jude" coincided with a period of upheaval in the Beatles. The ballad evolved from "Hey Jules", a song McCartney wrote to comfort John Lennon's young son Julian, after Lennon had left his wife for the Japanese artist Yoko Ono. The lyrics espouse a positive outlook on a sad situation, while also encouraging "Jude" to pursue his opportunities to find love. After the fourth verse, the song shifts to a coda featuring a "Na-na-na na" refrain that lasts for over four minutes.
"Hey Jude" was the first Beatles song to be recorded on eight-track recording equipment. The sessions took place at Trident Studios in central London, midway through the recording of the group's self-titled double album (also known as the "White Album"), and led to an argument between McCartney and George Harrison over the song's guitar part. Ringo Starr later left the band only to return shortly before they filmed the promotional clip for the single. The clip was directed by Michael Lindsay-Hogg and first aired on David Frost's UK television show. Contrasting with the problems afflicting the band, this performance captured the song's theme of optimism and togetherness by featuring the studio audience joining the Beatles as they sang the coda.
At over seven minutes in length, "Hey Jude" was the longest single to top the British charts up to that time. Its arrangement and extended coda encouraged many imitative works through to the early 1970s. In 2013, Billboard magazine named it the 11th "biggest" song of all time in terms of chart success. McCartney has continued to perform "Hey Jude" in concert since Lennon's death in 1980, leading audiences in singing the coda. Julian Lennon and McCartney have each bid successfully at auction for items of memorabilia related to the song's creation.
Inspiration and writing
In May 1968, John Lennon and his wife Cynthia separated due to his affair with Japanese artist Yoko Ono. The following month, Paul McCartney drove out to visit the Lennons' five-year-old son Julian, at Kenwood, the family's home in Weybridge. Cynthia had been part of the Beatles' social circle since before the band's rise to fame in 1963; McCartney later said he found it "a bit much for them suddenly to be personae non gratae and out of my life". Cynthia Lennon recalled of McCartney's surprise visit: "I was touched by his obvious concern for our welfare ... On the journey down he composed 'Hey Jude' in the car. I will never forget Paul's gesture of care and concern in coming to see us." The song's original title was "Hey Jules", and it was intended to comfort Julian from the stress of his parents' separation. McCartney said, "I knew it was not going to be easy for him", and that he changed the name to "Jude" "because I thought that sounded a bit better".
According to music journalist Chris Hunt, in the weeks after writing the song, McCartney "test[ed] his latest composition on anyone too polite to refuse. And that meant everyone." On 30 June, after recording the Black Dyke Mills Band's rendition of his instrumental "Thingumybob" in Yorkshire, McCartney stopped at the village of Harrold in Bedfordshire and performed "Hey Jude" at a local pub. He also regaled members of the Bonzo Dog Band with the song while producing their single "I'm the Urban Spaceman", in London, and interrupted a recording session by the Barron Knights to do the same. Ron Griffith of the group the Iveys – soon to be known as Badfinger and, like the Black Dyke Mills Band, an early signing to the Beatles' new record label Apple Records – recalled that on one of their first days in the studio, McCartney "gave us a full concert rendition of 'Hey Jude'".
The intensity of Lennon and Ono's relationship made any songwriting collaboration between Lennon and McCartney impossible. Keen to support his friend nevertheless, McCartney let the couple stay at his house in St John's Wood, but when Lennon discovered a note written by McCartney containing disparaging and racist comments about Ono, the couple moved out. McCartney presented "Hey Jude" to Lennon on 26 July, when he and Ono visited McCartney's home. McCartney assured him that he would "fix" the line "the movement you need is on your shoulder", reasoning that "it's a stupid expression; it sounds like a parrot." According to McCartney, Lennon replied: "You won't, you know. That's the best line in the song." McCartney retained the phrase. Although McCartney originally wrote "Hey Jude" for Julian, Lennon thought it had actually been written for him. In a 1980 interview, Lennon stated that he "always heard it as a song to me" and contended that, on one level, McCartney was giving his blessing to Lennon and Ono's relationship, while, on another, he was disappointed to be usurped as Lennon's friend and creative partner.
Other people believed McCartney wrote the song about them, including Judith Simons, a journalist with the Daily Express. Still others, including Lennon, have speculated that in the lyrics to "Hey Jude", McCartney's failing long-term relationship with Jane Asher provided an unconscious "message to himself". McCartney and Asher had announced their engagement on 25 December 1967, yet he began an affair with Linda Eastman in June 1968; that same month, Francie Schwartz, an American who was in London to discuss a film proposal with Apple, began living with McCartney in St John's Wood. When Lennon mentioned that he thought the song was about him and Ono, McCartney denied it and told Lennon he had written the song about himself.
Author Mark Hertsgaard has commented that "many of the song's lyrics do seem directed more at a grown man on the verge of a powerful new love, especially the lines 'you have found her now go and get her' and 'you're waiting for someone to perform with.'" Music critic and author Tim Riley writes: "If the song is about self-worth and self-consolation in the face of hardship, the vocal performance itself conveys much of the journey. He begins by singing to comfort someone else, finds himself weighing his own feelings in the process, and finally, in the repeated refrains that nurture his own approbation, he comes to believe in himself."
Production
EMI rehearsals
Having earmarked the song for release as a single, the Beatles recorded "Hey Jude" during the sessions for their self-titled double album, commonly known as "the White Album". The sessions were marked by an element of discord within the group for the first time, partly as a result of Ono's constant presence at Lennon's side. The strained relations were also reflective of the four band members' divergence following their communal trip to Rishikesh in the spring of 1968 to study Transcendental Meditation.
The Beatles first taped 25 takes of the song at EMI Studios in London over two nights, 29 and 30 July 1968, with George Martin as their producer. These dates served as rehearsals, however, since they planned to record the master track at Trident Studios to utilise their eight-track recording machine (EMI was still limited to four-tracks). The first two takes from 29 July, which author and critic Kenneth Womack describes as a "jovial" session, have been released on the 50th Anniversary box set of the White Album in 2018 and the Anthology 3 compilation in 1996, respectively.
The 30 July rehearsals were filmed for a short documentary titled Music!, which was produced by the National Music Council of Great Britain. This was the first time that the Beatles had permitted a camera crew to film them developing a song in the studio. The film shows only three of the Beatles performing "Hey Jude", as George Harrison remained in the studio control room, with Martin and EMI recording engineer Ken Scott. During the rehearsals that day, Harrison and McCartney had a heated disagreement over the lead guitar part for the song. Harrison's idea was to play a guitar phrase as a response to each line of the vocal, which did not fit with McCartney's conception of the song's arrangement, and he vetoed it. Author Simon Leng views this as indicative of how Harrison was increasingly allowed little room to develop ideas on McCartney compositions, whereas he was free to create empathetic guitar parts for Lennon's songs of the period. In a 1994 interview, McCartney said, "looking back on it, I think, Okay. Well, it was bossy, but it was ballsy of me, because I could have bowed to the pressure." Ron Richards, a record producer who worked for Martin at both Parlophone and AIR Studios, said McCartney was "oblivious to anyone else's feelings in the studio", and that he was driven to making the best possible record, at almost any cost.
Trident Studios recording
The Beatles recorded the master track for "Hey Jude" at Trident, where McCartney and Harrison had each produced sessions for their Apple artists, on 31 July. Trident's founder, Norman Sheffield, recalled that Mal Evans, the Beatles' aide and former roadie, insisted that some marijuana plants he had brought be placed in the studio to make the place "soft", consistent with the band's wishes. Barry Sheffield served as recording engineer for the session. The line-up on the basic track was McCartney on piano and lead vocal, Lennon on acoustic guitar, Harrison on electric guitar, and Ringo Starr on drums. The Beatles recorded four takes of "Hey Jude", the first of which was selected as the master. With drums intended to be absent for the first two verses, McCartney began this take unaware that Starr had just left for a toilet break. Starr soon returned – "tiptoeing past my back rather quickly", in McCartney's recollection – and performed his cue perfectly.
On 1 August, the group carried out overdubs on the basic track, again at Trident. These additions included McCartney's lead vocal and bass guitar; backing vocals from Lennon, McCartney and Harrison; and tambourine, played by Starr. McCartney's vocal over the long coda, starting at around three minutes into the song, included a series of improvised shrieks that he later described as "Cary Grant on heat!" They then added a 36-piece orchestra over the coda, scored by Martin. The orchestra consisted of ten violins, three violas, three cellos, two flutes, one contra bassoon, one bassoon, two clarinets, one contra bass clarinet, four trumpets, four trombones, two horns, percussion and two string basses. According to Norman Sheffield, there was dissension initially among the orchestral musicians, some of whom "were looking down their noses at the Beatles, I think". Sheffield recalls that McCartney ensured their cooperation by demanding: "Do you guys want to get fucking paid or not?" During the first few takes, McCartney was unhappy about the lack of energy and passion in the orchestra's performance, so he stood up on the grand piano and started conducting the musicians from there.
The Beatles then asked the orchestra members if they would clap their hands and sing along to the refrain in the coda. All but one of the musicians complied (for a double fee), with the abstainer reportedly saying, "I'm not going to clap my hands and sing Paul McCartney's bloody song!" Apple Records assistant Chris O'Dell says she joined the cast of backing singers on the song; one of the label's first signings, Jackie Lomax, also recalled participating.
"Hey Jude" was the first Beatles song to be recorded on eight-track equipment. Trident Studios were paid £25 per hour by EMI for the sessions. Sheffield said that the studio earned about £1,000 in total, but by having the Beatles record there, and in turn raving about the facility, the value was incalculable. The band carried out further work at Trident during 1968, and Apple artists such as Lomax, Mary Hopkin, Billy Preston and the Iveys all recorded there over the next year.
Mixing
Scott, Martin and the Beatles mixed the finished recording at Abbey Road. The transfer of the Trident master tape to acetate proved problematic due to the recording sounding murky when played back on EMI's equipment. The issue was resolved with the help of Geoff Emerick, whom Scott had recently replaced as the Beatles' principal recording engineer. Emerick happened to be visiting Abbey Road, having recently refused to work with the Beatles any longer, due to the tension and abuse that had become commonplace at their recording sessions. A stereo mix of "Hey Jude" was then completed on 2 August and the mono version on 8 August.
Musicologist Walter Everett writes that the song's "most commented-on feature" is its considerable length, at 7:11. Like McCartney, Martin was concerned that radio stations would not play the track because of the length, but Lennon insisted: "They will if it's us." According to Ken Mansfield, Apple's US manager, McCartney remained unconvinced until Mansfield previewed the record for some American disc jockeys and reported that they were highly enthusiastic about the song. "Hey Jude" was one second longer than Richard Harris's recent hit recording of "MacArthur Park", the composer of which, Jimmy Webb, was a visitor to the studio around this time. According to Webb, Martin admitted to him that "Hey Jude" was only allowed to run over seven minutes because of the success of "MacArthur Park". Pleased with the result, McCartney played an acetate copy of "Hey Jude" at a party held by Mick Jagger, at Vesuvio's nightclub in central London, to celebrate the completion of the Rolling Stones' Beggars Banquet album. The song upstaged the Stones' album and, in author John Winn's description, "reportedly ruin[ed]" the party.
In the song's final bridge section, at 2:58, the spoken phrase "Fucking hell!" appears, uttered by Lennon. Scott admits that although he was told about it, he could not hear the words originally. Malcolm Toft, the mix engineer on the Trident recording, recalled that Lennon was overdubbing his harmony vocal when, in reaction to the volume being too loud in his headphones, he first called out "Whoa!" then, two seconds later, swore as he pulled the headphones off.
Composition and structure
"Hey Jude" begins with McCartney singing lead vocals and playing the piano. The patterns he plays are based on three chords: F, C and B (I, V and IV). The main chord progression is "flipped on its head", in Hertsgaard's words, for the coda, since the C chord is replaced by E. Everett comments that McCartney's melody over the verses borrows in part from John Ireland's 1907 liturgical piece Te Deum, as well as (with the first change to a B chord) suggesting the influence of the Drifters' 1960 hit "Save the Last Dance for Me".
The second verse of the song adds accompaniment from acoustic guitar and tambourine. Tim Riley writes that, with the "restrained tom-tom and cymbal fill" that introduces the drum part, "the piano shifts downward to add a flat seventh to the tonic chord, making the downbeat of the bridge the point of arrival ('And any time you feel the pain)." At the end of each bridge, McCartney sings a brief phrase ("Na-na-na na …"), supported by an electric guitar fill, before playing a piano fill that leads to the next verse. According to Riley, this vocal phrase serves to "reorient the harmony for the verse as the piano figure turns upside down into a vocal aside". Additional musical details, such as tambourine on the third verse and subtle harmonies accompanying the lead vocal, are added to sustain interest throughout the four-verse, two-bridge song.
The verse-bridge structure persists for approximately three minutes, after which the band leads into a four-minute-long coda, consisting of nineteen rounds of the song's double plagal cadence. During this coda, the rest of the band, backed by an orchestra that also provides backing vocals, repeats the phrase "Na-na-na na" followed by the words "hey Jude" until the song gradually fades out. In his analysis of the composition, musicologist Alan Pollack comments on the unusual structure of "Hey Jude", in that it uses a "binary form that combines a fully developed, hymn-like song together with an extended, mantra-like jam on a simple chord progression".
Riley considers that the coda's repeated chord sequence (I–VII–IV–I) "answers all the musical questions raised at the beginnings and ends of bridges", since "The flat seventh that posed dominant turns into bridges now has an entire chord built on it." This three-chord refrain allows McCartney "a bedding ... to leap about on vocally", so he ad-libs his vocal performance for the rest of the song. In Riley's estimation, the song "becomes a tour of Paul's vocal range: from the graceful inviting tones of the opening verse, through the mounting excitement of the song itself, to the surging raves of the coda".
Release
"Hey Jude" was released on a 7-inch single on 26 August 1968 in the United States and 30 August in the United Kingdom, backed with "Revolution" on the B-side. It was one of four singles issued simultaneously to launch Apple Records – the others being Mary Hopkin's "Those Were the Days", Jackie Lomax's "Sour Milk Sea", and the Black Dyke Mills Band's "Thingumybob". In advance of the release date, Apple declared 11–18 August to be "National Apple Week" in the UK, and sent gift-wrapped boxes of the records, marked "Our First Four", to Queen Elizabeth II and other members of the royal family, and to Harold Wilson, the prime minister. The release was promoted by Derek Taylor, who, in author Peter Doggett's description, "hyped the first Apple records with typical elan". "Hey Jude" was the first of the four singles, since it was still designated as an EMI/Parlophone release in the UK and a Capitol release in the US, but with the Apple Records logo now added. In the US, "Hey Jude" was the first Capitol-distributed Beatles single to be issued without a picture sleeve. Instead, the record was presented in a black sleeve bearing the words "The Beatles on Apple".
Author Philip Norman comments that aside from "Sour Milk Sea", which Harrison wrote and produced, the first Apple A-sides were all "either written, vocalised, discovered or produced" by McCartney. Lennon wanted "Revolution" to be the A-side of the Beatles single, but his bandmates opted for "Hey Jude". In his 1970 interview with Rolling Stone, he said "Hey Jude" was worthy of an A-side, "but we could have had both." In 1980, he told Playboy he still disagreed with the decision.
Doggett describes "Hey Jude" as a song that "glowed with optimism after a summer that had burned with anxiety and rage within the group and in the troubled world beyond". The single's release coincided with the violent subjugation of Vietnam War protestors at the Democratic National Convention in Chicago, and condemnation in the West of the Soviet-led invasion of Czechoslovakia and its crushing of attempts to introduce democratic reforms there. In this climate, Lennon's espousal of a pacifist agenda over violent confrontation in "Revolution" drew heavy criticism from New Left activists. By contrast, with its more universal message, "Hey Jude" was adopted as an anthem by Czech citizens in their struggle.
The song was first released on an album in February 1970, as the title track to Capitol's North American compilation Hey Jude. The album was conceived as a way to generate income for the Beatles by Allen Klein, the American businessman who, despite McCartney's strong opposition, the other Beatles had appointed to manage the ailing Apple organisation in 1969. "Hey Jude" subsequently appeared on the compilation albums 1967–1970, 20 Greatest Hits, Past Masters, Volume Two and 1.
Promotion
Apple shop window graffiti
A failed early promotional attempt for the single took place after the Beatles' all-night recording session on 7–8 August 1968. With Apple Boutique having closed a week before, McCartney and Francie Schwartz painted Hey Jude/Revolution across its large, whitewashed shop windows. The words were mistaken for antisemitic graffiti (since Jude means "Jew" in German), leading to complaints from the local Jewish community, and the windows being smashed by a passer-by.
Discussing the episode in The Beatles Anthology, McCartney explained that he had been motivated by the location – "Great opportunity. Baker Street, millions of buses going around…" – and added: "I had no idea it meant 'Jew', but if you look at footage of Nazi Germany, Juden Raus was written in whitewashed windows with a Star of David. I swear it never occurred to me." According to Barry Miles, McCartney caused further controversy in his comments to Alan Smith of the NME that month, when, in an interview designed to promote the single, he said: "Starvation in India doesn't worry me one bit, not one iota … And it doesn't worry you, if you're honest. You just pose."
Promotional film
The Beatles hired Michael Lindsay-Hogg to shoot promotional clips for "Hey Jude" and "Revolution", after he had previously directed the clips for "Paperback Writer" and "Rain" in 1966. For "Hey Jude", they settled on the idea of shooting with a live, albeit controlled, audience. In the clip, the Beatles are first seen by themselves, performing the initial chorus and verses, before the audience moves forward and joins them in singing the coda. The decision was made to hire an orchestra and for the vocals to be sung live, to circumvent the Musicians' Union's ban on miming on television, but otherwise the Beatles performed to a backing track. Lindsay-Hogg shot the clip at Twickenham Film Studios on 4 September 1968. Tony Bramwell, a friend of the Beatles, later described the set as "the piano, there; drums, there; and orchestra in two tiers at the back." The event marked Starr's return to the group, after McCartney's criticism of his drumming had led to him walking out during a session for the White Album track "Back in the U.S.S.R." Starr was absent for two weeks.
The final edit was a combination of two different takes and included "introductions" to the song by David Frost (who introduced the Beatles as "the greatest tea-room orchestra in the world") and Cliff Richard, for their respective TV programmes. It first aired in the UK on Frost on Sunday on 8 September 1968, two weeks after Lennon and Ono had appeared on the show to promote their views on performance art and the avant-garde. The "Hey Jude" clip was broadcast in the United States on The Smothers Brothers Comedy Hour on 6 October.
According to Riley, the Frost on Sunday broadcast "kicked 'Hey Jude' into the stratosphere" in terms of popularity. Norman comments that it evoked "palpable general relief" for viewers who had watched Frost's show two weeks before, as Lennon now adopted a supporting role to McCartney, and Ono was "nowhere in sight". Hertsgaard pairs the band's performance with the release of the animated film Yellow Submarine as two events that created "a state of nirvana" for Beatles fans, in contrast with the problems besetting the band regarding Ono's influence and Apple. Referring to the sight of the Beatles engulfed by a crowd made up of "young, old, male, female, black, brown, and white" fans, Hertsgaard describes the promotional clip as "a quintessential sixties moment, a touching tableau of contentment and togetherness".
The 4 September 1968 promo clip is included in the Beatles' 2015 video compilation 1, while the three-disc versions of that compilation, titled 1+, also include an alternate video, with a different introduction and vocal, from the same date.
Critical reception
In his contemporary review of the single, Derek Johnson of the NME wrote: "The intriguing features of 'Hey Jude' are its extreme length and the 40-piece orchestral accompaniment – and personally I would have preferred it without either!" While he viewed the track overall as "a beautiful, compelling song", and the first three minutes as "absolutely sensational", Johnson rued the long coda's "vocal improvisations on the basically repetitive four-bar chorus". Johnson nevertheless concluded that "Hey Jude" and "Revolution" "prove beyond a shadow of a doubt that the Beatles are still streets ahead of their rivals". Chris Welch of Melody Maker said he had initially been unimpressed, but came to greatly admire "Hey Jude" for its "slow, heavy, piano-ridden beat, sensuous, soulful vocals and nice thumpy drums". He added that the track would have benefited from being edited in length, as the climactic ending was "a couple of minutes too long".
Cash Boxs reviewer said that the extended fadeout, having been a device pioneered by the Beatles on "All You Need Is Love", "becomes something of an art form" in "Hey Jude", comprising a "trance-like ceremonial that becomes almost timeless in its continuity". Time magazine described it as "a fadeout that engagingly spoofs the fadeout as a gimmick for ending pop records". The reviewer contrasted "Hey Jude" with "Revolution", saying that McCartney's song "urges activism of a different sort" by "liltingly exhort[ing] a friend to overcome his fears and commit himself in love". Catherine Manfredi of Rolling Stone also read the lyrics as a message from McCartney to Lennon to end his negative relationships with women: "to break the old pattern; to really go through with love". Manfredi commented on the duality of the song's eponymous protagonist as a representation of good, in Saint Jude, "the Patron of that which is called Impossible", and of evil, in Judas Iscariot. Other commentators interpreted "Hey Jude" as being directed at Bob Dylan, then semi-retired in Woodstock.
Writing in 1971, Robert Christgau of The Village Voice called it "one of [McCartney's] truest and most forthright love songs" and said that McCartney's romantic side was ill-served by the inclusion of "'I Will', a piece of fluff" on The Beatles. In their 1975 book The Beatles: An Illustrated Record, critics Roy Carr and Tony Tyler wrote that "Hey Jude" "promised great things" for the ill-conceived Apple enterprise and described the song as "the last great Beatles single recorded specifically for the 45s market". They commented also that "the epic proportions of the piece" encouraged many imitators, yet these other artists "[failed] to capture the gentleness and sympathy of the Beatles' communal feel". Walter Everett admires the melody as a "marvel of construction, contrasting wide leaps with stepwise motions, sustained tones with rapid movement, syllabic with melismatic word-setting, and tension ... with resolution". He cites Van Morrison's "Astral Weeks", Donovan's "Atlantis", the Moody Blues' "Never Comes the Day" and the Allman Brothers' "Revival" among the many songs with "mantralike repeated sections" that followed the release of "Hey Jude". In his entry for the song in his 1993 book Rock and Roll: The 100 Best Singles, Paul Williams describes it as a "song about breathing". He adds: "'Hey Jude' kicks ass like Van Gogh or Beethoven in their prime. It is, let's say, one of the wonders of this corner of creation ... It opens out like the sky at night or the idea of the existence of God."
Alan Pollack highlights the song as "such a good illustration of two compositional lessons – how to fill a large canvas with simple means, and how to use diverse elements such as harmony, bassline, and orchestration to articulate form and contrast." Pollack says that the long coda provides "an astonishingly transcendental effect", while AllMusic's Richie Unterberger similarly opines: "What could have very easily been boring is instead hypnotic because McCartney varies the vocal with some of the greatest nonsense scatting ever heard in rock, ranging from mantra-like chants to soulful lines to James Brown power screams." In his book Revolution in the Head, Ian MacDonald wrote that the "pseudo-soul shrieking in the fade-out may be a blemish" but he praised the song as "a pop/rock hybrid drawing on the best of both idioms". MacDonald concluded: "'Hey Jude' strikes a universal note, touching on an archetypal moment in male sexual psychology with a gentle wisdom one might properly call inspired." Lennon said the song was "one of [McCartney's] masterpieces".
Commercial performance
The single was a highly successful debut for Apple Records, a result that contrasted with the public embarrassment the band faced after the recent closure of their short-lived retail venture, Apple Boutique. In the description of music journalist Paul Du Noyer, the song's "monumental quality ... amazed the public in 1968"; in addition, the release silenced detractors in the British mainstream press who had relished the opportunity to criticise the band for their December 1967 television special, Magical Mystery Tour, and their trip to Rishikesh in early 1968. In the US, the single similarly brought an end to speculation that the Beatles' popularity might be diminishing, after "Lady Madonna" had peaked at number 4.
"Hey Jude" reached the top of Britain's Record Retailer chart (subsequently adopted as the UK Singles Chart) in September 1968. It lasted two weeks on top before being replaced by Hopkin's "Those Were the Days", which McCartney helped promote. "Hey Jude" was certified gold by the Recording Industry Association of America (RIAA) on 13 September; that same week, NME reported that two million copies of the single had been sold. The song entered the Billboard Hot 100 in the US on 14 September, beginning a nineteen-week chart run there. It reached number one on 28 September and held that position for nine weeks, for three of which "Those Were the Days" held the number-two spot. This was the longest run at number one for a single in the US until 1977. The song was the 16th number-one hit there for the Beatles. Billboard ranked it as the number-one song for 1968. In Australia, "Hey Jude" was number one for 13 weeks, which remained a record there until Abba's "Fernando" in 1976. It also topped the charts in Belgium, Brazil, Canada, Denmark, France, Ireland, Malaysia, the Netherlands, New Zealand, Norway, the Philippines, Singapore, Spain, Sweden, Switzerland and West Germany.
On 30 November 1968, NME reported that sales had reached nearly six million copies worldwide. By 1999, "Hey Jude" had sold an estimated eight million copies worldwide. That year, it was certified 4x platinum by the RIAA, representing four million units shipped in the US. As of December 2018, "Hey Jude" was the 54th-best-selling single of all time in the UK – one of six Beatles songs included on the top sales rankings published by the Official Charts Company.
Awards and accolades
"Hey Jude" was nominated for the Grammy Awards of 1969 in the categories of Record of the Year, Song of the Year and Best Pop Performance by a Duo or Group with Vocal, but failed to win any of them. In the 1968 NME Readers' Poll, "Hey Jude" was named the best single of the year, and the song also won the 1968 Ivor Novello Award for "A-Side With the Highest Sales". "Hey Jude" was inducted into the National Academy of Recording Arts and Sciences Grammy Hall of Fame in 2001 and it is one of the Rock and Roll Hall of Fame's "500 Songs That Shaped Rock & Roll".
In 2004, Rolling Stone ranked "Hey Jude" at number eight on the "500 Greatest Songs of All Time", making it the highest-placed Beatles song on the list; it dropped to number 89 in the 2021 revised list. Among its many appearances in other best-song-of-all-time lists, VH1 placed it ninth in 2000 and Mojo ranked it at number 29 in the same year, having placed the song seventh in a 1997 list of "The 100 Greatest Singles of All Time". In 1976, the NME ranked it 38th on the magazine's "Top 100 Singles of All Time", and the track appeared at number 77 on the same publication's "The 500 Greatest Songs of All Time" in 2014. In January 2001, "Hey Jude" came in third on Channel 4's list of the "100 Greatest Singles". The Amusement & Music Operators Association ranks "Hey Jude" as the 11th-best jukebox single of all time. In 2008, the song appeared in eighth place on Billboards "All Time Hot 100 Songs".
In July 2006, Mojo placed "Hey Jude" at number 12 on its list of "The 101 Greatest Beatles Songs". On a similar list compiled four years later, Rolling Stone ranked the song at number seven. In 2015, the ITV program The Nation's Favourite Beatles Number One ranked "Hey Jude" in first place. In 2018, the music staff of Time Out London ranked it at number 49 on their list of the best Beatles songs. Writing in the magazine, Nick Levine said: "Don't allow yourself to overlook this song because of its sheer ubiquity ... 'Hey Jude' is a huge-hearted, super-emotional epic that climaxes with one of pop's most legendary hooks."
Auctioned lyrics and memorabilia
In his 1996 article about the single's release, for Mojo, Paul Du Noyer said that the writing of "Hey Jude" had become "one of the best-known stories in Beatles folklore". In a 2005 interview, Ono said that for McCartney and for Julian and Cynthia Lennon, the scenario was akin to a drama, in that "Each person has something to be totally miserable about, because of the way they were put into this play. I have incredible sympathy for each of them." Du Noyer quoted Cynthia Lennon as saying of "Hey Jude", "it always bring tears to my eyes, that song."
Julian discovered that "Hey Jude" had been written for him almost 20 years after the fact. He recalled of his and McCartney's relationship: "Paul and I used to hang about quite a bit – more than Dad and I did. We had a great friendship going and there seems to be far more pictures of me and Paul playing together at that age than there are pictures of me and my dad." In 1996, Julian paid £25,000($33,958.25) for the recording notes to "Hey Jude" at an auction. He spent a further £35,000($47,543.65) at the auction, buying John Lennon memorabilia. John Cousins, Julian Lennon's manager, stated at the time: "He has a few photographs of his father, but not very much else. He is collecting for personal reasons; these are family heirlooms if you like."
In 2002, the original handwritten lyrics for the song were nearly auctioned off at Christie's in London. The sheet of notepaper with the scrawled lyrics had been expected to fetch up to £80,000($108,671.20) at the auction, which was scheduled for 30 April 2002. McCartney went to court to stop the auction, claiming the paper had disappeared from his West London home. Richard Morgan, representing Christie's, said McCartney had provided no evidence that he had ever owned the piece of paper on which the lyrics were written. The courts decided in McCartney's favour and prohibited the sale of the lyrics. They had been sent to Christie's for auction by Frenchman Florrent Tessier, who said he purchased the piece of paper at a street market stall in London for £10($13.58) in the early 1970s. In the original catalogue for the auction, Julian Lennon had written, "It's very strange to think that someone has written a song about you. It still touches me."
Along with "Yesterday", "Hey Jude" was one of the songs that McCartney has highlighted when attempting to have some of the official Beatles songwriting credits changed to McCartney–Lennon. McCartney applied the revised credit to this and 18 other Lennon–McCartney songs on his 2002 live album Back in the U.S., attracting criticism from Ono, as Lennon's widow, and from Starr, the only other surviving member of the Beatles.
Cover versions and McCartney live performances
In 1968, R&B singer Wilson Pickett released a cover recorded at Muscle Shoals Sound Studio, with a guitar part played by a young Duane Allman, who recommended the song to Pickett. Eric Clapton commented, "I remember hearing [it] and calling either Ahmet Ertegun or Tom Dowd and saying, 'Who's that guitar player?' ... To this day, I've never heard better rock guitar playing on an R&B record. It's the best." Session musician Jimmy Johnson, who played on the recording, said that Allman's solo "created Southern rock". Pickett's version reached number 23 on the Hot 100 and 13 on the Billboard R&B chart.
"Hey Jude" was one of the few Beatles songs that Elvis Presley covered, when he rehearsed the track at his 1969 Memphis sessions with producer Chips Moman, a recording that appeared on the 1972 album Elvis Now. A medley of "Yesterday" and "Hey Jude" was included on the 1999 reissue of Presley's 1970 live album On Stage. Katy Perry performed "Hey Jude" as part of the 2012 MusiCares Person of the Year concert honouring McCartney.
McCartney played "Hey Jude" throughout his 1989–90 world tour, his first tour since Lennon's murder in 1980. McCartney had considered including it as the closing song on his band Wings' 1975 tours, but decided that "it just didn't feel right." He has continued to feature the song in his concerts, leading the audience in organised singalongs whereby different segments of the crowd – such as those in a certain section of the venue, then only men followed by only the women – chant the "Na-na-na na" refrain.
McCartney performed "Hey Jude" in the White House East Room as part of a concert honoring him with the Library of Congress Gershwin Prize for Popular Song in June 2010.
McCartney also sang the song in the closing moments of the opening ceremony of the 2012 Summer Olympics hosted in London. On 4 August 2012, McCartney led the crowd in a rendition of "Hey Jude" while watching cycling at the velodrome.
Personnel
According to Ian MacDonald and Mark Lewisohn:
The Beatles
Paul McCartney– lead vocal, piano, bass guitar, handclaps
John Lennon– backing vocal, acoustic guitar, handclaps
George Harrison– backing vocal, electric guitar, handclaps
Ringo Starr– backing vocal, drums, tambourine, handclaps
Additional musicians
Uncredited 36-piece orchestra– 10 violins, three violas, three cellos, two double basses, two flutes, two clarinets, one bass clarinet, one bassoon, one contrabassoon, four trumpets, two horns, four trombones, and one percussion instrument; 35 of these musicians on additional backing vocals and handclaps
Charts
Weekly charts
Year-end charts
All-time charts
Certifications and sales
See also
Billboard Year-End Hot 100 singles of 1968
List of number-one singles in Australia during the 1960s
List of Top 25 singles for 1968 in Australia
List of Billboard Hot 100 number-one singles of 1968
List of Cash Box Top 100 number-one singles of 1968
List of number-one singles of 1968 (Canada)
List of Dutch Top 40 number-one singles of 1968
List of number-one hits of 1968 (Germany)
List of number-one singles of 1968 (Ireland)
List of number-one singles in 1968 (New Zealand)
List of number-one songs in Norway
List of number-one singles of 1968 (Spain)
List of number-one singles from 1968 to 1979 (Switzerland)
List of UK charts and number-one singles (1952–1969)
List of best-selling singles of the 1960s in the United Kingdom
"The Official BBC Children in Need Medley"
Notes
References
Sources
External links
Full lyrics for the song at the Beatles' official website
"David Frost Meets The Beatles" at Mojo4music.com
1968 songs
1968 singles
The Beatles songs
Apple Records singles
Songs written by Lennon–McCartney
Song recordings produced by George Martin
Songs published by Northern Songs
Music videos directed by Michael Lindsay-Hogg
Billboard Hot 100 number-one singles
Cashbox number-one singles
Dutch Top 40 number-one singles
Single Top 100 number-one singles
Irish Singles Chart number-one singles
Number-one singles in Australia
Number-one singles in Austria
Number-one singles in Germany
Number-one singles in New Zealand
Number-one singles in Norway
Number-one singles in Spain
Number-one singles in Switzerland
RPM Top Singles number-one singles
UK Singles Chart number-one singles
Ultratop 50 Singles (Flanders) number-one singles
Grammy Hall of Fame Award recipients
British pop rock songs
Pop ballads
Rock ballads
1960s ballads
Wilson Pickett songs
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"Gangsta Bitch Music, Vol. 2 is the second mixtape by American rapper Cardi B. It was the follow up mixtape to her debut mixtape, Gangsta Bitch Music, Vol. 1. It was released on January 20, 2017, by KSR.\n\nAccolades\n\nTrack listing\n\nCharts\n\nNotes\n\nReferences\n\n2017 mixtape albums\nCardi B albums\nAlbums produced by J. White Did It\nSequel albums"
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did ti receive any others?
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Aside from NME Readers Poll, did Hey Jude receive any other accolades?
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Hey Jude
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"Hey Jude" was nominated for the Grammy Awards of 1969 in the categories of Record of the Year, Song of the Year and Best Pop Performance by a Duo or Group with Vocal, but failed to win any of them. In the 1968 NME Readers' Poll, "Hey Jude" was named the best single of the year, and the song also won the 1968 Ivor Novello Award for "A-Side With the Highest Sales". In 2001, "Hey Jude" was inducted into the National Academy of Recording Arts and Sciences Grammy Hall of Fame. In 2004, Rolling Stone ranked "Hey Jude" at number eight on the "500 Greatest Songs of All Time", making it the highest-placed Beatles song on the list. Among its many appearances in other best-song-of-all-time lists, VH1 placed it seventh in 2000 and Mojo ranked it at number 29 in the same year, having placed the song seventh in a 1997 list of "The 100 Greatest Singles of All Time". In 1976, the NME ranked it 38th on the magazine's "Top 100 Singles of All Time", and the track appeared at number 77 on the same publication's "The 500 Greatest Songs of All Time" in 2014. In January 2001, "Hey Jude" came in third on Channel 4's list of the "100 Greatest Singles". The Amusement & Music Operators Association ranks "Hey Jude" as the 11th-best jukebox single of all time. In 2008, the song appeared in eighth place on Billboard's "All Time Hot 100 Songs". In July 2006, Mojo placed "Hey Jude" at number 12 on its list of "The 101 Greatest Beatles Songs" (between "Eleanor Rigby" and "Come Together"). On a similar list compiled four years later, Rolling Stone ranked the song at number seven. In 2015, the ITV program The Nation's Favourite Beatles Number One ranked "Hey Jude" in first place. CANNOTANSWER
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1968 Ivor Novello Award for "A-Side With the Highest Sales
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"Hey Jude" is a song by the English rock band the Beatles that was released as a non-album single in August 1968. It was written by Paul McCartney and credited to the Lennon–McCartney partnership. The single was the Beatles' first release on their Apple record label and one of the "First Four" singles by Apple's roster of artists, marking the label's public launch. "Hey Jude" was a number-one hit in many countries around the world and became the year's top-selling single in the UK, the US, Australia and Canada. Its nine-week run at number one on the Billboard Hot 100 tied the all-time record in 1968 for the longest run at the top of the US charts, a record it held for nine years. It has sold approximately eight million copies and is frequently included on music critics' lists of the greatest songs of all time.
The writing and recording of "Hey Jude" coincided with a period of upheaval in the Beatles. The ballad evolved from "Hey Jules", a song McCartney wrote to comfort John Lennon's young son Julian, after Lennon had left his wife for the Japanese artist Yoko Ono. The lyrics espouse a positive outlook on a sad situation, while also encouraging "Jude" to pursue his opportunities to find love. After the fourth verse, the song shifts to a coda featuring a "Na-na-na na" refrain that lasts for over four minutes.
"Hey Jude" was the first Beatles song to be recorded on eight-track recording equipment. The sessions took place at Trident Studios in central London, midway through the recording of the group's self-titled double album (also known as the "White Album"), and led to an argument between McCartney and George Harrison over the song's guitar part. Ringo Starr later left the band only to return shortly before they filmed the promotional clip for the single. The clip was directed by Michael Lindsay-Hogg and first aired on David Frost's UK television show. Contrasting with the problems afflicting the band, this performance captured the song's theme of optimism and togetherness by featuring the studio audience joining the Beatles as they sang the coda.
At over seven minutes in length, "Hey Jude" was the longest single to top the British charts up to that time. Its arrangement and extended coda encouraged many imitative works through to the early 1970s. In 2013, Billboard magazine named it the 11th "biggest" song of all time in terms of chart success. McCartney has continued to perform "Hey Jude" in concert since Lennon's death in 1980, leading audiences in singing the coda. Julian Lennon and McCartney have each bid successfully at auction for items of memorabilia related to the song's creation.
Inspiration and writing
In May 1968, John Lennon and his wife Cynthia separated due to his affair with Japanese artist Yoko Ono. The following month, Paul McCartney drove out to visit the Lennons' five-year-old son Julian, at Kenwood, the family's home in Weybridge. Cynthia had been part of the Beatles' social circle since before the band's rise to fame in 1963; McCartney later said he found it "a bit much for them suddenly to be personae non gratae and out of my life". Cynthia Lennon recalled of McCartney's surprise visit: "I was touched by his obvious concern for our welfare ... On the journey down he composed 'Hey Jude' in the car. I will never forget Paul's gesture of care and concern in coming to see us." The song's original title was "Hey Jules", and it was intended to comfort Julian from the stress of his parents' separation. McCartney said, "I knew it was not going to be easy for him", and that he changed the name to "Jude" "because I thought that sounded a bit better".
According to music journalist Chris Hunt, in the weeks after writing the song, McCartney "test[ed] his latest composition on anyone too polite to refuse. And that meant everyone." On 30 June, after recording the Black Dyke Mills Band's rendition of his instrumental "Thingumybob" in Yorkshire, McCartney stopped at the village of Harrold in Bedfordshire and performed "Hey Jude" at a local pub. He also regaled members of the Bonzo Dog Band with the song while producing their single "I'm the Urban Spaceman", in London, and interrupted a recording session by the Barron Knights to do the same. Ron Griffith of the group the Iveys – soon to be known as Badfinger and, like the Black Dyke Mills Band, an early signing to the Beatles' new record label Apple Records – recalled that on one of their first days in the studio, McCartney "gave us a full concert rendition of 'Hey Jude'".
The intensity of Lennon and Ono's relationship made any songwriting collaboration between Lennon and McCartney impossible. Keen to support his friend nevertheless, McCartney let the couple stay at his house in St John's Wood, but when Lennon discovered a note written by McCartney containing disparaging and racist comments about Ono, the couple moved out. McCartney presented "Hey Jude" to Lennon on 26 July, when he and Ono visited McCartney's home. McCartney assured him that he would "fix" the line "the movement you need is on your shoulder", reasoning that "it's a stupid expression; it sounds like a parrot." According to McCartney, Lennon replied: "You won't, you know. That's the best line in the song." McCartney retained the phrase. Although McCartney originally wrote "Hey Jude" for Julian, Lennon thought it had actually been written for him. In a 1980 interview, Lennon stated that he "always heard it as a song to me" and contended that, on one level, McCartney was giving his blessing to Lennon and Ono's relationship, while, on another, he was disappointed to be usurped as Lennon's friend and creative partner.
Other people believed McCartney wrote the song about them, including Judith Simons, a journalist with the Daily Express. Still others, including Lennon, have speculated that in the lyrics to "Hey Jude", McCartney's failing long-term relationship with Jane Asher provided an unconscious "message to himself". McCartney and Asher had announced their engagement on 25 December 1967, yet he began an affair with Linda Eastman in June 1968; that same month, Francie Schwartz, an American who was in London to discuss a film proposal with Apple, began living with McCartney in St John's Wood. When Lennon mentioned that he thought the song was about him and Ono, McCartney denied it and told Lennon he had written the song about himself.
Author Mark Hertsgaard has commented that "many of the song's lyrics do seem directed more at a grown man on the verge of a powerful new love, especially the lines 'you have found her now go and get her' and 'you're waiting for someone to perform with.'" Music critic and author Tim Riley writes: "If the song is about self-worth and self-consolation in the face of hardship, the vocal performance itself conveys much of the journey. He begins by singing to comfort someone else, finds himself weighing his own feelings in the process, and finally, in the repeated refrains that nurture his own approbation, he comes to believe in himself."
Production
EMI rehearsals
Having earmarked the song for release as a single, the Beatles recorded "Hey Jude" during the sessions for their self-titled double album, commonly known as "the White Album". The sessions were marked by an element of discord within the group for the first time, partly as a result of Ono's constant presence at Lennon's side. The strained relations were also reflective of the four band members' divergence following their communal trip to Rishikesh in the spring of 1968 to study Transcendental Meditation.
The Beatles first taped 25 takes of the song at EMI Studios in London over two nights, 29 and 30 July 1968, with George Martin as their producer. These dates served as rehearsals, however, since they planned to record the master track at Trident Studios to utilise their eight-track recording machine (EMI was still limited to four-tracks). The first two takes from 29 July, which author and critic Kenneth Womack describes as a "jovial" session, have been released on the 50th Anniversary box set of the White Album in 2018 and the Anthology 3 compilation in 1996, respectively.
The 30 July rehearsals were filmed for a short documentary titled Music!, which was produced by the National Music Council of Great Britain. This was the first time that the Beatles had permitted a camera crew to film them developing a song in the studio. The film shows only three of the Beatles performing "Hey Jude", as George Harrison remained in the studio control room, with Martin and EMI recording engineer Ken Scott. During the rehearsals that day, Harrison and McCartney had a heated disagreement over the lead guitar part for the song. Harrison's idea was to play a guitar phrase as a response to each line of the vocal, which did not fit with McCartney's conception of the song's arrangement, and he vetoed it. Author Simon Leng views this as indicative of how Harrison was increasingly allowed little room to develop ideas on McCartney compositions, whereas he was free to create empathetic guitar parts for Lennon's songs of the period. In a 1994 interview, McCartney said, "looking back on it, I think, Okay. Well, it was bossy, but it was ballsy of me, because I could have bowed to the pressure." Ron Richards, a record producer who worked for Martin at both Parlophone and AIR Studios, said McCartney was "oblivious to anyone else's feelings in the studio", and that he was driven to making the best possible record, at almost any cost.
Trident Studios recording
The Beatles recorded the master track for "Hey Jude" at Trident, where McCartney and Harrison had each produced sessions for their Apple artists, on 31 July. Trident's founder, Norman Sheffield, recalled that Mal Evans, the Beatles' aide and former roadie, insisted that some marijuana plants he had brought be placed in the studio to make the place "soft", consistent with the band's wishes. Barry Sheffield served as recording engineer for the session. The line-up on the basic track was McCartney on piano and lead vocal, Lennon on acoustic guitar, Harrison on electric guitar, and Ringo Starr on drums. The Beatles recorded four takes of "Hey Jude", the first of which was selected as the master. With drums intended to be absent for the first two verses, McCartney began this take unaware that Starr had just left for a toilet break. Starr soon returned – "tiptoeing past my back rather quickly", in McCartney's recollection – and performed his cue perfectly.
On 1 August, the group carried out overdubs on the basic track, again at Trident. These additions included McCartney's lead vocal and bass guitar; backing vocals from Lennon, McCartney and Harrison; and tambourine, played by Starr. McCartney's vocal over the long coda, starting at around three minutes into the song, included a series of improvised shrieks that he later described as "Cary Grant on heat!" They then added a 36-piece orchestra over the coda, scored by Martin. The orchestra consisted of ten violins, three violas, three cellos, two flutes, one contra bassoon, one bassoon, two clarinets, one contra bass clarinet, four trumpets, four trombones, two horns, percussion and two string basses. According to Norman Sheffield, there was dissension initially among the orchestral musicians, some of whom "were looking down their noses at the Beatles, I think". Sheffield recalls that McCartney ensured their cooperation by demanding: "Do you guys want to get fucking paid or not?" During the first few takes, McCartney was unhappy about the lack of energy and passion in the orchestra's performance, so he stood up on the grand piano and started conducting the musicians from there.
The Beatles then asked the orchestra members if they would clap their hands and sing along to the refrain in the coda. All but one of the musicians complied (for a double fee), with the abstainer reportedly saying, "I'm not going to clap my hands and sing Paul McCartney's bloody song!" Apple Records assistant Chris O'Dell says she joined the cast of backing singers on the song; one of the label's first signings, Jackie Lomax, also recalled participating.
"Hey Jude" was the first Beatles song to be recorded on eight-track equipment. Trident Studios were paid £25 per hour by EMI for the sessions. Sheffield said that the studio earned about £1,000 in total, but by having the Beatles record there, and in turn raving about the facility, the value was incalculable. The band carried out further work at Trident during 1968, and Apple artists such as Lomax, Mary Hopkin, Billy Preston and the Iveys all recorded there over the next year.
Mixing
Scott, Martin and the Beatles mixed the finished recording at Abbey Road. The transfer of the Trident master tape to acetate proved problematic due to the recording sounding murky when played back on EMI's equipment. The issue was resolved with the help of Geoff Emerick, whom Scott had recently replaced as the Beatles' principal recording engineer. Emerick happened to be visiting Abbey Road, having recently refused to work with the Beatles any longer, due to the tension and abuse that had become commonplace at their recording sessions. A stereo mix of "Hey Jude" was then completed on 2 August and the mono version on 8 August.
Musicologist Walter Everett writes that the song's "most commented-on feature" is its considerable length, at 7:11. Like McCartney, Martin was concerned that radio stations would not play the track because of the length, but Lennon insisted: "They will if it's us." According to Ken Mansfield, Apple's US manager, McCartney remained unconvinced until Mansfield previewed the record for some American disc jockeys and reported that they were highly enthusiastic about the song. "Hey Jude" was one second longer than Richard Harris's recent hit recording of "MacArthur Park", the composer of which, Jimmy Webb, was a visitor to the studio around this time. According to Webb, Martin admitted to him that "Hey Jude" was only allowed to run over seven minutes because of the success of "MacArthur Park". Pleased with the result, McCartney played an acetate copy of "Hey Jude" at a party held by Mick Jagger, at Vesuvio's nightclub in central London, to celebrate the completion of the Rolling Stones' Beggars Banquet album. The song upstaged the Stones' album and, in author John Winn's description, "reportedly ruin[ed]" the party.
In the song's final bridge section, at 2:58, the spoken phrase "Fucking hell!" appears, uttered by Lennon. Scott admits that although he was told about it, he could not hear the words originally. Malcolm Toft, the mix engineer on the Trident recording, recalled that Lennon was overdubbing his harmony vocal when, in reaction to the volume being too loud in his headphones, he first called out "Whoa!" then, two seconds later, swore as he pulled the headphones off.
Composition and structure
"Hey Jude" begins with McCartney singing lead vocals and playing the piano. The patterns he plays are based on three chords: F, C and B (I, V and IV). The main chord progression is "flipped on its head", in Hertsgaard's words, for the coda, since the C chord is replaced by E. Everett comments that McCartney's melody over the verses borrows in part from John Ireland's 1907 liturgical piece Te Deum, as well as (with the first change to a B chord) suggesting the influence of the Drifters' 1960 hit "Save the Last Dance for Me".
The second verse of the song adds accompaniment from acoustic guitar and tambourine. Tim Riley writes that, with the "restrained tom-tom and cymbal fill" that introduces the drum part, "the piano shifts downward to add a flat seventh to the tonic chord, making the downbeat of the bridge the point of arrival ('And any time you feel the pain)." At the end of each bridge, McCartney sings a brief phrase ("Na-na-na na …"), supported by an electric guitar fill, before playing a piano fill that leads to the next verse. According to Riley, this vocal phrase serves to "reorient the harmony for the verse as the piano figure turns upside down into a vocal aside". Additional musical details, such as tambourine on the third verse and subtle harmonies accompanying the lead vocal, are added to sustain interest throughout the four-verse, two-bridge song.
The verse-bridge structure persists for approximately three minutes, after which the band leads into a four-minute-long coda, consisting of nineteen rounds of the song's double plagal cadence. During this coda, the rest of the band, backed by an orchestra that also provides backing vocals, repeats the phrase "Na-na-na na" followed by the words "hey Jude" until the song gradually fades out. In his analysis of the composition, musicologist Alan Pollack comments on the unusual structure of "Hey Jude", in that it uses a "binary form that combines a fully developed, hymn-like song together with an extended, mantra-like jam on a simple chord progression".
Riley considers that the coda's repeated chord sequence (I–VII–IV–I) "answers all the musical questions raised at the beginnings and ends of bridges", since "The flat seventh that posed dominant turns into bridges now has an entire chord built on it." This three-chord refrain allows McCartney "a bedding ... to leap about on vocally", so he ad-libs his vocal performance for the rest of the song. In Riley's estimation, the song "becomes a tour of Paul's vocal range: from the graceful inviting tones of the opening verse, through the mounting excitement of the song itself, to the surging raves of the coda".
Release
"Hey Jude" was released on a 7-inch single on 26 August 1968 in the United States and 30 August in the United Kingdom, backed with "Revolution" on the B-side. It was one of four singles issued simultaneously to launch Apple Records – the others being Mary Hopkin's "Those Were the Days", Jackie Lomax's "Sour Milk Sea", and the Black Dyke Mills Band's "Thingumybob". In advance of the release date, Apple declared 11–18 August to be "National Apple Week" in the UK, and sent gift-wrapped boxes of the records, marked "Our First Four", to Queen Elizabeth II and other members of the royal family, and to Harold Wilson, the prime minister. The release was promoted by Derek Taylor, who, in author Peter Doggett's description, "hyped the first Apple records with typical elan". "Hey Jude" was the first of the four singles, since it was still designated as an EMI/Parlophone release in the UK and a Capitol release in the US, but with the Apple Records logo now added. In the US, "Hey Jude" was the first Capitol-distributed Beatles single to be issued without a picture sleeve. Instead, the record was presented in a black sleeve bearing the words "The Beatles on Apple".
Author Philip Norman comments that aside from "Sour Milk Sea", which Harrison wrote and produced, the first Apple A-sides were all "either written, vocalised, discovered or produced" by McCartney. Lennon wanted "Revolution" to be the A-side of the Beatles single, but his bandmates opted for "Hey Jude". In his 1970 interview with Rolling Stone, he said "Hey Jude" was worthy of an A-side, "but we could have had both." In 1980, he told Playboy he still disagreed with the decision.
Doggett describes "Hey Jude" as a song that "glowed with optimism after a summer that had burned with anxiety and rage within the group and in the troubled world beyond". The single's release coincided with the violent subjugation of Vietnam War protestors at the Democratic National Convention in Chicago, and condemnation in the West of the Soviet-led invasion of Czechoslovakia and its crushing of attempts to introduce democratic reforms there. In this climate, Lennon's espousal of a pacifist agenda over violent confrontation in "Revolution" drew heavy criticism from New Left activists. By contrast, with its more universal message, "Hey Jude" was adopted as an anthem by Czech citizens in their struggle.
The song was first released on an album in February 1970, as the title track to Capitol's North American compilation Hey Jude. The album was conceived as a way to generate income for the Beatles by Allen Klein, the American businessman who, despite McCartney's strong opposition, the other Beatles had appointed to manage the ailing Apple organisation in 1969. "Hey Jude" subsequently appeared on the compilation albums 1967–1970, 20 Greatest Hits, Past Masters, Volume Two and 1.
Promotion
Apple shop window graffiti
A failed early promotional attempt for the single took place after the Beatles' all-night recording session on 7–8 August 1968. With Apple Boutique having closed a week before, McCartney and Francie Schwartz painted Hey Jude/Revolution across its large, whitewashed shop windows. The words were mistaken for antisemitic graffiti (since Jude means "Jew" in German), leading to complaints from the local Jewish community, and the windows being smashed by a passer-by.
Discussing the episode in The Beatles Anthology, McCartney explained that he had been motivated by the location – "Great opportunity. Baker Street, millions of buses going around…" – and added: "I had no idea it meant 'Jew', but if you look at footage of Nazi Germany, Juden Raus was written in whitewashed windows with a Star of David. I swear it never occurred to me." According to Barry Miles, McCartney caused further controversy in his comments to Alan Smith of the NME that month, when, in an interview designed to promote the single, he said: "Starvation in India doesn't worry me one bit, not one iota … And it doesn't worry you, if you're honest. You just pose."
Promotional film
The Beatles hired Michael Lindsay-Hogg to shoot promotional clips for "Hey Jude" and "Revolution", after he had previously directed the clips for "Paperback Writer" and "Rain" in 1966. For "Hey Jude", they settled on the idea of shooting with a live, albeit controlled, audience. In the clip, the Beatles are first seen by themselves, performing the initial chorus and verses, before the audience moves forward and joins them in singing the coda. The decision was made to hire an orchestra and for the vocals to be sung live, to circumvent the Musicians' Union's ban on miming on television, but otherwise the Beatles performed to a backing track. Lindsay-Hogg shot the clip at Twickenham Film Studios on 4 September 1968. Tony Bramwell, a friend of the Beatles, later described the set as "the piano, there; drums, there; and orchestra in two tiers at the back." The event marked Starr's return to the group, after McCartney's criticism of his drumming had led to him walking out during a session for the White Album track "Back in the U.S.S.R." Starr was absent for two weeks.
The final edit was a combination of two different takes and included "introductions" to the song by David Frost (who introduced the Beatles as "the greatest tea-room orchestra in the world") and Cliff Richard, for their respective TV programmes. It first aired in the UK on Frost on Sunday on 8 September 1968, two weeks after Lennon and Ono had appeared on the show to promote their views on performance art and the avant-garde. The "Hey Jude" clip was broadcast in the United States on The Smothers Brothers Comedy Hour on 6 October.
According to Riley, the Frost on Sunday broadcast "kicked 'Hey Jude' into the stratosphere" in terms of popularity. Norman comments that it evoked "palpable general relief" for viewers who had watched Frost's show two weeks before, as Lennon now adopted a supporting role to McCartney, and Ono was "nowhere in sight". Hertsgaard pairs the band's performance with the release of the animated film Yellow Submarine as two events that created "a state of nirvana" for Beatles fans, in contrast with the problems besetting the band regarding Ono's influence and Apple. Referring to the sight of the Beatles engulfed by a crowd made up of "young, old, male, female, black, brown, and white" fans, Hertsgaard describes the promotional clip as "a quintessential sixties moment, a touching tableau of contentment and togetherness".
The 4 September 1968 promo clip is included in the Beatles' 2015 video compilation 1, while the three-disc versions of that compilation, titled 1+, also include an alternate video, with a different introduction and vocal, from the same date.
Critical reception
In his contemporary review of the single, Derek Johnson of the NME wrote: "The intriguing features of 'Hey Jude' are its extreme length and the 40-piece orchestral accompaniment – and personally I would have preferred it without either!" While he viewed the track overall as "a beautiful, compelling song", and the first three minutes as "absolutely sensational", Johnson rued the long coda's "vocal improvisations on the basically repetitive four-bar chorus". Johnson nevertheless concluded that "Hey Jude" and "Revolution" "prove beyond a shadow of a doubt that the Beatles are still streets ahead of their rivals". Chris Welch of Melody Maker said he had initially been unimpressed, but came to greatly admire "Hey Jude" for its "slow, heavy, piano-ridden beat, sensuous, soulful vocals and nice thumpy drums". He added that the track would have benefited from being edited in length, as the climactic ending was "a couple of minutes too long".
Cash Boxs reviewer said that the extended fadeout, having been a device pioneered by the Beatles on "All You Need Is Love", "becomes something of an art form" in "Hey Jude", comprising a "trance-like ceremonial that becomes almost timeless in its continuity". Time magazine described it as "a fadeout that engagingly spoofs the fadeout as a gimmick for ending pop records". The reviewer contrasted "Hey Jude" with "Revolution", saying that McCartney's song "urges activism of a different sort" by "liltingly exhort[ing] a friend to overcome his fears and commit himself in love". Catherine Manfredi of Rolling Stone also read the lyrics as a message from McCartney to Lennon to end his negative relationships with women: "to break the old pattern; to really go through with love". Manfredi commented on the duality of the song's eponymous protagonist as a representation of good, in Saint Jude, "the Patron of that which is called Impossible", and of evil, in Judas Iscariot. Other commentators interpreted "Hey Jude" as being directed at Bob Dylan, then semi-retired in Woodstock.
Writing in 1971, Robert Christgau of The Village Voice called it "one of [McCartney's] truest and most forthright love songs" and said that McCartney's romantic side was ill-served by the inclusion of "'I Will', a piece of fluff" on The Beatles. In their 1975 book The Beatles: An Illustrated Record, critics Roy Carr and Tony Tyler wrote that "Hey Jude" "promised great things" for the ill-conceived Apple enterprise and described the song as "the last great Beatles single recorded specifically for the 45s market". They commented also that "the epic proportions of the piece" encouraged many imitators, yet these other artists "[failed] to capture the gentleness and sympathy of the Beatles' communal feel". Walter Everett admires the melody as a "marvel of construction, contrasting wide leaps with stepwise motions, sustained tones with rapid movement, syllabic with melismatic word-setting, and tension ... with resolution". He cites Van Morrison's "Astral Weeks", Donovan's "Atlantis", the Moody Blues' "Never Comes the Day" and the Allman Brothers' "Revival" among the many songs with "mantralike repeated sections" that followed the release of "Hey Jude". In his entry for the song in his 1993 book Rock and Roll: The 100 Best Singles, Paul Williams describes it as a "song about breathing". He adds: "'Hey Jude' kicks ass like Van Gogh or Beethoven in their prime. It is, let's say, one of the wonders of this corner of creation ... It opens out like the sky at night or the idea of the existence of God."
Alan Pollack highlights the song as "such a good illustration of two compositional lessons – how to fill a large canvas with simple means, and how to use diverse elements such as harmony, bassline, and orchestration to articulate form and contrast." Pollack says that the long coda provides "an astonishingly transcendental effect", while AllMusic's Richie Unterberger similarly opines: "What could have very easily been boring is instead hypnotic because McCartney varies the vocal with some of the greatest nonsense scatting ever heard in rock, ranging from mantra-like chants to soulful lines to James Brown power screams." In his book Revolution in the Head, Ian MacDonald wrote that the "pseudo-soul shrieking in the fade-out may be a blemish" but he praised the song as "a pop/rock hybrid drawing on the best of both idioms". MacDonald concluded: "'Hey Jude' strikes a universal note, touching on an archetypal moment in male sexual psychology with a gentle wisdom one might properly call inspired." Lennon said the song was "one of [McCartney's] masterpieces".
Commercial performance
The single was a highly successful debut for Apple Records, a result that contrasted with the public embarrassment the band faced after the recent closure of their short-lived retail venture, Apple Boutique. In the description of music journalist Paul Du Noyer, the song's "monumental quality ... amazed the public in 1968"; in addition, the release silenced detractors in the British mainstream press who had relished the opportunity to criticise the band for their December 1967 television special, Magical Mystery Tour, and their trip to Rishikesh in early 1968. In the US, the single similarly brought an end to speculation that the Beatles' popularity might be diminishing, after "Lady Madonna" had peaked at number 4.
"Hey Jude" reached the top of Britain's Record Retailer chart (subsequently adopted as the UK Singles Chart) in September 1968. It lasted two weeks on top before being replaced by Hopkin's "Those Were the Days", which McCartney helped promote. "Hey Jude" was certified gold by the Recording Industry Association of America (RIAA) on 13 September; that same week, NME reported that two million copies of the single had been sold. The song entered the Billboard Hot 100 in the US on 14 September, beginning a nineteen-week chart run there. It reached number one on 28 September and held that position for nine weeks, for three of which "Those Were the Days" held the number-two spot. This was the longest run at number one for a single in the US until 1977. The song was the 16th number-one hit there for the Beatles. Billboard ranked it as the number-one song for 1968. In Australia, "Hey Jude" was number one for 13 weeks, which remained a record there until Abba's "Fernando" in 1976. It also topped the charts in Belgium, Brazil, Canada, Denmark, France, Ireland, Malaysia, the Netherlands, New Zealand, Norway, the Philippines, Singapore, Spain, Sweden, Switzerland and West Germany.
On 30 November 1968, NME reported that sales had reached nearly six million copies worldwide. By 1999, "Hey Jude" had sold an estimated eight million copies worldwide. That year, it was certified 4x platinum by the RIAA, representing four million units shipped in the US. As of December 2018, "Hey Jude" was the 54th-best-selling single of all time in the UK – one of six Beatles songs included on the top sales rankings published by the Official Charts Company.
Awards and accolades
"Hey Jude" was nominated for the Grammy Awards of 1969 in the categories of Record of the Year, Song of the Year and Best Pop Performance by a Duo or Group with Vocal, but failed to win any of them. In the 1968 NME Readers' Poll, "Hey Jude" was named the best single of the year, and the song also won the 1968 Ivor Novello Award for "A-Side With the Highest Sales". "Hey Jude" was inducted into the National Academy of Recording Arts and Sciences Grammy Hall of Fame in 2001 and it is one of the Rock and Roll Hall of Fame's "500 Songs That Shaped Rock & Roll".
In 2004, Rolling Stone ranked "Hey Jude" at number eight on the "500 Greatest Songs of All Time", making it the highest-placed Beatles song on the list; it dropped to number 89 in the 2021 revised list. Among its many appearances in other best-song-of-all-time lists, VH1 placed it ninth in 2000 and Mojo ranked it at number 29 in the same year, having placed the song seventh in a 1997 list of "The 100 Greatest Singles of All Time". In 1976, the NME ranked it 38th on the magazine's "Top 100 Singles of All Time", and the track appeared at number 77 on the same publication's "The 500 Greatest Songs of All Time" in 2014. In January 2001, "Hey Jude" came in third on Channel 4's list of the "100 Greatest Singles". The Amusement & Music Operators Association ranks "Hey Jude" as the 11th-best jukebox single of all time. In 2008, the song appeared in eighth place on Billboards "All Time Hot 100 Songs".
In July 2006, Mojo placed "Hey Jude" at number 12 on its list of "The 101 Greatest Beatles Songs". On a similar list compiled four years later, Rolling Stone ranked the song at number seven. In 2015, the ITV program The Nation's Favourite Beatles Number One ranked "Hey Jude" in first place. In 2018, the music staff of Time Out London ranked it at number 49 on their list of the best Beatles songs. Writing in the magazine, Nick Levine said: "Don't allow yourself to overlook this song because of its sheer ubiquity ... 'Hey Jude' is a huge-hearted, super-emotional epic that climaxes with one of pop's most legendary hooks."
Auctioned lyrics and memorabilia
In his 1996 article about the single's release, for Mojo, Paul Du Noyer said that the writing of "Hey Jude" had become "one of the best-known stories in Beatles folklore". In a 2005 interview, Ono said that for McCartney and for Julian and Cynthia Lennon, the scenario was akin to a drama, in that "Each person has something to be totally miserable about, because of the way they were put into this play. I have incredible sympathy for each of them." Du Noyer quoted Cynthia Lennon as saying of "Hey Jude", "it always bring tears to my eyes, that song."
Julian discovered that "Hey Jude" had been written for him almost 20 years after the fact. He recalled of his and McCartney's relationship: "Paul and I used to hang about quite a bit – more than Dad and I did. We had a great friendship going and there seems to be far more pictures of me and Paul playing together at that age than there are pictures of me and my dad." In 1996, Julian paid £25,000($33,958.25) for the recording notes to "Hey Jude" at an auction. He spent a further £35,000($47,543.65) at the auction, buying John Lennon memorabilia. John Cousins, Julian Lennon's manager, stated at the time: "He has a few photographs of his father, but not very much else. He is collecting for personal reasons; these are family heirlooms if you like."
In 2002, the original handwritten lyrics for the song were nearly auctioned off at Christie's in London. The sheet of notepaper with the scrawled lyrics had been expected to fetch up to £80,000($108,671.20) at the auction, which was scheduled for 30 April 2002. McCartney went to court to stop the auction, claiming the paper had disappeared from his West London home. Richard Morgan, representing Christie's, said McCartney had provided no evidence that he had ever owned the piece of paper on which the lyrics were written. The courts decided in McCartney's favour and prohibited the sale of the lyrics. They had been sent to Christie's for auction by Frenchman Florrent Tessier, who said he purchased the piece of paper at a street market stall in London for £10($13.58) in the early 1970s. In the original catalogue for the auction, Julian Lennon had written, "It's very strange to think that someone has written a song about you. It still touches me."
Along with "Yesterday", "Hey Jude" was one of the songs that McCartney has highlighted when attempting to have some of the official Beatles songwriting credits changed to McCartney–Lennon. McCartney applied the revised credit to this and 18 other Lennon–McCartney songs on his 2002 live album Back in the U.S., attracting criticism from Ono, as Lennon's widow, and from Starr, the only other surviving member of the Beatles.
Cover versions and McCartney live performances
In 1968, R&B singer Wilson Pickett released a cover recorded at Muscle Shoals Sound Studio, with a guitar part played by a young Duane Allman, who recommended the song to Pickett. Eric Clapton commented, "I remember hearing [it] and calling either Ahmet Ertegun or Tom Dowd and saying, 'Who's that guitar player?' ... To this day, I've never heard better rock guitar playing on an R&B record. It's the best." Session musician Jimmy Johnson, who played on the recording, said that Allman's solo "created Southern rock". Pickett's version reached number 23 on the Hot 100 and 13 on the Billboard R&B chart.
"Hey Jude" was one of the few Beatles songs that Elvis Presley covered, when he rehearsed the track at his 1969 Memphis sessions with producer Chips Moman, a recording that appeared on the 1972 album Elvis Now. A medley of "Yesterday" and "Hey Jude" was included on the 1999 reissue of Presley's 1970 live album On Stage. Katy Perry performed "Hey Jude" as part of the 2012 MusiCares Person of the Year concert honouring McCartney.
McCartney played "Hey Jude" throughout his 1989–90 world tour, his first tour since Lennon's murder in 1980. McCartney had considered including it as the closing song on his band Wings' 1975 tours, but decided that "it just didn't feel right." He has continued to feature the song in his concerts, leading the audience in organised singalongs whereby different segments of the crowd – such as those in a certain section of the venue, then only men followed by only the women – chant the "Na-na-na na" refrain.
McCartney performed "Hey Jude" in the White House East Room as part of a concert honoring him with the Library of Congress Gershwin Prize for Popular Song in June 2010.
McCartney also sang the song in the closing moments of the opening ceremony of the 2012 Summer Olympics hosted in London. On 4 August 2012, McCartney led the crowd in a rendition of "Hey Jude" while watching cycling at the velodrome.
Personnel
According to Ian MacDonald and Mark Lewisohn:
The Beatles
Paul McCartney– lead vocal, piano, bass guitar, handclaps
John Lennon– backing vocal, acoustic guitar, handclaps
George Harrison– backing vocal, electric guitar, handclaps
Ringo Starr– backing vocal, drums, tambourine, handclaps
Additional musicians
Uncredited 36-piece orchestra– 10 violins, three violas, three cellos, two double basses, two flutes, two clarinets, one bass clarinet, one bassoon, one contrabassoon, four trumpets, two horns, four trombones, and one percussion instrument; 35 of these musicians on additional backing vocals and handclaps
Charts
Weekly charts
Year-end charts
All-time charts
Certifications and sales
See also
Billboard Year-End Hot 100 singles of 1968
List of number-one singles in Australia during the 1960s
List of Top 25 singles for 1968 in Australia
List of Billboard Hot 100 number-one singles of 1968
List of Cash Box Top 100 number-one singles of 1968
List of number-one singles of 1968 (Canada)
List of Dutch Top 40 number-one singles of 1968
List of number-one hits of 1968 (Germany)
List of number-one singles of 1968 (Ireland)
List of number-one singles in 1968 (New Zealand)
List of number-one songs in Norway
List of number-one singles of 1968 (Spain)
List of number-one singles from 1968 to 1979 (Switzerland)
List of UK charts and number-one singles (1952–1969)
List of best-selling singles of the 1960s in the United Kingdom
"The Official BBC Children in Need Medley"
Notes
References
Sources
External links
Full lyrics for the song at the Beatles' official website
"David Frost Meets The Beatles" at Mojo4music.com
1968 songs
1968 singles
The Beatles songs
Apple Records singles
Songs written by Lennon–McCartney
Song recordings produced by George Martin
Songs published by Northern Songs
Music videos directed by Michael Lindsay-Hogg
Billboard Hot 100 number-one singles
Cashbox number-one singles
Dutch Top 40 number-one singles
Single Top 100 number-one singles
Irish Singles Chart number-one singles
Number-one singles in Australia
Number-one singles in Austria
Number-one singles in Germany
Number-one singles in New Zealand
Number-one singles in Norway
Number-one singles in Spain
Number-one singles in Switzerland
RPM Top Singles number-one singles
UK Singles Chart number-one singles
Ultratop 50 Singles (Flanders) number-one singles
Grammy Hall of Fame Award recipients
British pop rock songs
Pop ballads
Rock ballads
1960s ballads
Wilson Pickett songs
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[
"The TI-80 is a graphing calculator made by Texas Instruments. It was originally designed in 1995 to be used at a middle school level (grades 6-8).\n\nThe TI-80 featured a 48 x 64 dot-matrix display with a 5 x 3 pixel font, which is the smallest screen of any TI graphing calculator. It also featured the slowest processor (980 kHz proprietary) of any TI graphing calculator. The first revision of the TI-80 'A' contained a proprietary Toshiba T6M53 ASIC while subsequent revisions contained a Toshiba T6M53A. Additionally, the TI-80 had the processor on board the ASIC, unlike later calculators like the TI-83, TI-83 Plus, and TI-84 Plus which had separate ASIC and processor chips in certain models. In comparison, the TI-81, released in 1990, featured a 2 MHz Zilog Z80 processor. However, the TI-80 did feature 7 KB of RAM (compared with the TI-81's 2.4 KB). The TI-80 also had more built-in functions than the TI-81 (such as list and table functions, as well as fraction and decimal conversions). Like the TI-81, the TI-80 did not feature a link port on the base model, however, unlike the TI-81, the ViewScreen variant (meant for use with TI's overhead projection units) did. The TI-80 was also the only graphing calculator to use 2 CR2032 lithium batteries (instead of the standard 4 AAA batteries with a lithium backup battery).\n\nSince its release, it has been superseded by the superior TI-73 and TI-73 Explorer. The TI-80 was officially discontinued in 1998, when it was replaced by the TI-73, however, production continued until at least October 2000.\n\nSee also\n Comparison of Texas Instruments graphing calculators\n\nExternal links\n DataMath - DataMath Calculator Museum on the TI-80\n\nGraphing calculators\nTexas Instruments programmable calculators\nProducts introduced in 1995",
"Korake ti znam () is a song by Bosnian pop-ballad singer Maya Sar. It was the Bosnia and Herzegovina entry at the Eurovision Song Contest 2012 in Baku, Azerbaijan. There is also an Italian version \"I Passi Che Fai\" and an English version \"The Steps I Know\" of the song.\n\n\"Korake ti znam\" premiered 15 March 2012. The song progressed from the second semi-final into the Eurovision Grand Final where it finished in 18th place out of 26 participants. Sar managed to acquire points from only 9 countries out of 41, including 10 points from Croatia and Turkey, but did not receive the maximum 12 points from any country. It was Bosnia and Herzegovina's worst result in the Eurovision final since 1997.\n\nThe song was featured on the track-list of her 2013 debut studio album Krive riječi.\n\nExternal links \nBHRT.ba/Mayabio\nMayaSar.com\n\nReferences\n\nEurovision songs of 2012\n2012 songs"
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"Hey Jude",
"Awards and accolades",
"what awards did they receiev?",
"nominated for the Grammy Awards of 1969",
"did it win any other awards?",
"failed to win any of them.",
"what accolades did it recieve?",
"NME Readers' Poll, \"Hey Jude\" was named the best single of the year,",
"did ti receive any others?",
"1968 Ivor Novello Award for \"A-Side With the Highest Sales"
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C_a72e694aae574dd9892050d1ae182388_0
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Are there any other interesting aspects about this article?
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Besides Hey Jude winning the 1968 Ivor Novello Award for "A-Side with the Highest Sales", are there any other interesting aspects about this article?
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Hey Jude
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"Hey Jude" was nominated for the Grammy Awards of 1969 in the categories of Record of the Year, Song of the Year and Best Pop Performance by a Duo or Group with Vocal, but failed to win any of them. In the 1968 NME Readers' Poll, "Hey Jude" was named the best single of the year, and the song also won the 1968 Ivor Novello Award for "A-Side With the Highest Sales". In 2001, "Hey Jude" was inducted into the National Academy of Recording Arts and Sciences Grammy Hall of Fame. In 2004, Rolling Stone ranked "Hey Jude" at number eight on the "500 Greatest Songs of All Time", making it the highest-placed Beatles song on the list. Among its many appearances in other best-song-of-all-time lists, VH1 placed it seventh in 2000 and Mojo ranked it at number 29 in the same year, having placed the song seventh in a 1997 list of "The 100 Greatest Singles of All Time". In 1976, the NME ranked it 38th on the magazine's "Top 100 Singles of All Time", and the track appeared at number 77 on the same publication's "The 500 Greatest Songs of All Time" in 2014. In January 2001, "Hey Jude" came in third on Channel 4's list of the "100 Greatest Singles". The Amusement & Music Operators Association ranks "Hey Jude" as the 11th-best jukebox single of all time. In 2008, the song appeared in eighth place on Billboard's "All Time Hot 100 Songs". In July 2006, Mojo placed "Hey Jude" at number 12 on its list of "The 101 Greatest Beatles Songs" (between "Eleanor Rigby" and "Come Together"). On a similar list compiled four years later, Rolling Stone ranked the song at number seven. In 2015, the ITV program The Nation's Favourite Beatles Number One ranked "Hey Jude" in first place. CANNOTANSWER
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In 2001, "Hey Jude" was inducted into the National Academy of Recording Arts and Sciences Grammy Hall of Fame.
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"Hey Jude" is a song by the English rock band the Beatles that was released as a non-album single in August 1968. It was written by Paul McCartney and credited to the Lennon–McCartney partnership. The single was the Beatles' first release on their Apple record label and one of the "First Four" singles by Apple's roster of artists, marking the label's public launch. "Hey Jude" was a number-one hit in many countries around the world and became the year's top-selling single in the UK, the US, Australia and Canada. Its nine-week run at number one on the Billboard Hot 100 tied the all-time record in 1968 for the longest run at the top of the US charts, a record it held for nine years. It has sold approximately eight million copies and is frequently included on music critics' lists of the greatest songs of all time.
The writing and recording of "Hey Jude" coincided with a period of upheaval in the Beatles. The ballad evolved from "Hey Jules", a song McCartney wrote to comfort John Lennon's young son Julian, after Lennon had left his wife for the Japanese artist Yoko Ono. The lyrics espouse a positive outlook on a sad situation, while also encouraging "Jude" to pursue his opportunities to find love. After the fourth verse, the song shifts to a coda featuring a "Na-na-na na" refrain that lasts for over four minutes.
"Hey Jude" was the first Beatles song to be recorded on eight-track recording equipment. The sessions took place at Trident Studios in central London, midway through the recording of the group's self-titled double album (also known as the "White Album"), and led to an argument between McCartney and George Harrison over the song's guitar part. Ringo Starr later left the band only to return shortly before they filmed the promotional clip for the single. The clip was directed by Michael Lindsay-Hogg and first aired on David Frost's UK television show. Contrasting with the problems afflicting the band, this performance captured the song's theme of optimism and togetherness by featuring the studio audience joining the Beatles as they sang the coda.
At over seven minutes in length, "Hey Jude" was the longest single to top the British charts up to that time. Its arrangement and extended coda encouraged many imitative works through to the early 1970s. In 2013, Billboard magazine named it the 11th "biggest" song of all time in terms of chart success. McCartney has continued to perform "Hey Jude" in concert since Lennon's death in 1980, leading audiences in singing the coda. Julian Lennon and McCartney have each bid successfully at auction for items of memorabilia related to the song's creation.
Inspiration and writing
In May 1968, John Lennon and his wife Cynthia separated due to his affair with Japanese artist Yoko Ono. The following month, Paul McCartney drove out to visit the Lennons' five-year-old son Julian, at Kenwood, the family's home in Weybridge. Cynthia had been part of the Beatles' social circle since before the band's rise to fame in 1963; McCartney later said he found it "a bit much for them suddenly to be personae non gratae and out of my life". Cynthia Lennon recalled of McCartney's surprise visit: "I was touched by his obvious concern for our welfare ... On the journey down he composed 'Hey Jude' in the car. I will never forget Paul's gesture of care and concern in coming to see us." The song's original title was "Hey Jules", and it was intended to comfort Julian from the stress of his parents' separation. McCartney said, "I knew it was not going to be easy for him", and that he changed the name to "Jude" "because I thought that sounded a bit better".
According to music journalist Chris Hunt, in the weeks after writing the song, McCartney "test[ed] his latest composition on anyone too polite to refuse. And that meant everyone." On 30 June, after recording the Black Dyke Mills Band's rendition of his instrumental "Thingumybob" in Yorkshire, McCartney stopped at the village of Harrold in Bedfordshire and performed "Hey Jude" at a local pub. He also regaled members of the Bonzo Dog Band with the song while producing their single "I'm the Urban Spaceman", in London, and interrupted a recording session by the Barron Knights to do the same. Ron Griffith of the group the Iveys – soon to be known as Badfinger and, like the Black Dyke Mills Band, an early signing to the Beatles' new record label Apple Records – recalled that on one of their first days in the studio, McCartney "gave us a full concert rendition of 'Hey Jude'".
The intensity of Lennon and Ono's relationship made any songwriting collaboration between Lennon and McCartney impossible. Keen to support his friend nevertheless, McCartney let the couple stay at his house in St John's Wood, but when Lennon discovered a note written by McCartney containing disparaging and racist comments about Ono, the couple moved out. McCartney presented "Hey Jude" to Lennon on 26 July, when he and Ono visited McCartney's home. McCartney assured him that he would "fix" the line "the movement you need is on your shoulder", reasoning that "it's a stupid expression; it sounds like a parrot." According to McCartney, Lennon replied: "You won't, you know. That's the best line in the song." McCartney retained the phrase. Although McCartney originally wrote "Hey Jude" for Julian, Lennon thought it had actually been written for him. In a 1980 interview, Lennon stated that he "always heard it as a song to me" and contended that, on one level, McCartney was giving his blessing to Lennon and Ono's relationship, while, on another, he was disappointed to be usurped as Lennon's friend and creative partner.
Other people believed McCartney wrote the song about them, including Judith Simons, a journalist with the Daily Express. Still others, including Lennon, have speculated that in the lyrics to "Hey Jude", McCartney's failing long-term relationship with Jane Asher provided an unconscious "message to himself". McCartney and Asher had announced their engagement on 25 December 1967, yet he began an affair with Linda Eastman in June 1968; that same month, Francie Schwartz, an American who was in London to discuss a film proposal with Apple, began living with McCartney in St John's Wood. When Lennon mentioned that he thought the song was about him and Ono, McCartney denied it and told Lennon he had written the song about himself.
Author Mark Hertsgaard has commented that "many of the song's lyrics do seem directed more at a grown man on the verge of a powerful new love, especially the lines 'you have found her now go and get her' and 'you're waiting for someone to perform with.'" Music critic and author Tim Riley writes: "If the song is about self-worth and self-consolation in the face of hardship, the vocal performance itself conveys much of the journey. He begins by singing to comfort someone else, finds himself weighing his own feelings in the process, and finally, in the repeated refrains that nurture his own approbation, he comes to believe in himself."
Production
EMI rehearsals
Having earmarked the song for release as a single, the Beatles recorded "Hey Jude" during the sessions for their self-titled double album, commonly known as "the White Album". The sessions were marked by an element of discord within the group for the first time, partly as a result of Ono's constant presence at Lennon's side. The strained relations were also reflective of the four band members' divergence following their communal trip to Rishikesh in the spring of 1968 to study Transcendental Meditation.
The Beatles first taped 25 takes of the song at EMI Studios in London over two nights, 29 and 30 July 1968, with George Martin as their producer. These dates served as rehearsals, however, since they planned to record the master track at Trident Studios to utilise their eight-track recording machine (EMI was still limited to four-tracks). The first two takes from 29 July, which author and critic Kenneth Womack describes as a "jovial" session, have been released on the 50th Anniversary box set of the White Album in 2018 and the Anthology 3 compilation in 1996, respectively.
The 30 July rehearsals were filmed for a short documentary titled Music!, which was produced by the National Music Council of Great Britain. This was the first time that the Beatles had permitted a camera crew to film them developing a song in the studio. The film shows only three of the Beatles performing "Hey Jude", as George Harrison remained in the studio control room, with Martin and EMI recording engineer Ken Scott. During the rehearsals that day, Harrison and McCartney had a heated disagreement over the lead guitar part for the song. Harrison's idea was to play a guitar phrase as a response to each line of the vocal, which did not fit with McCartney's conception of the song's arrangement, and he vetoed it. Author Simon Leng views this as indicative of how Harrison was increasingly allowed little room to develop ideas on McCartney compositions, whereas he was free to create empathetic guitar parts for Lennon's songs of the period. In a 1994 interview, McCartney said, "looking back on it, I think, Okay. Well, it was bossy, but it was ballsy of me, because I could have bowed to the pressure." Ron Richards, a record producer who worked for Martin at both Parlophone and AIR Studios, said McCartney was "oblivious to anyone else's feelings in the studio", and that he was driven to making the best possible record, at almost any cost.
Trident Studios recording
The Beatles recorded the master track for "Hey Jude" at Trident, where McCartney and Harrison had each produced sessions for their Apple artists, on 31 July. Trident's founder, Norman Sheffield, recalled that Mal Evans, the Beatles' aide and former roadie, insisted that some marijuana plants he had brought be placed in the studio to make the place "soft", consistent with the band's wishes. Barry Sheffield served as recording engineer for the session. The line-up on the basic track was McCartney on piano and lead vocal, Lennon on acoustic guitar, Harrison on electric guitar, and Ringo Starr on drums. The Beatles recorded four takes of "Hey Jude", the first of which was selected as the master. With drums intended to be absent for the first two verses, McCartney began this take unaware that Starr had just left for a toilet break. Starr soon returned – "tiptoeing past my back rather quickly", in McCartney's recollection – and performed his cue perfectly.
On 1 August, the group carried out overdubs on the basic track, again at Trident. These additions included McCartney's lead vocal and bass guitar; backing vocals from Lennon, McCartney and Harrison; and tambourine, played by Starr. McCartney's vocal over the long coda, starting at around three minutes into the song, included a series of improvised shrieks that he later described as "Cary Grant on heat!" They then added a 36-piece orchestra over the coda, scored by Martin. The orchestra consisted of ten violins, three violas, three cellos, two flutes, one contra bassoon, one bassoon, two clarinets, one contra bass clarinet, four trumpets, four trombones, two horns, percussion and two string basses. According to Norman Sheffield, there was dissension initially among the orchestral musicians, some of whom "were looking down their noses at the Beatles, I think". Sheffield recalls that McCartney ensured their cooperation by demanding: "Do you guys want to get fucking paid or not?" During the first few takes, McCartney was unhappy about the lack of energy and passion in the orchestra's performance, so he stood up on the grand piano and started conducting the musicians from there.
The Beatles then asked the orchestra members if they would clap their hands and sing along to the refrain in the coda. All but one of the musicians complied (for a double fee), with the abstainer reportedly saying, "I'm not going to clap my hands and sing Paul McCartney's bloody song!" Apple Records assistant Chris O'Dell says she joined the cast of backing singers on the song; one of the label's first signings, Jackie Lomax, also recalled participating.
"Hey Jude" was the first Beatles song to be recorded on eight-track equipment. Trident Studios were paid £25 per hour by EMI for the sessions. Sheffield said that the studio earned about £1,000 in total, but by having the Beatles record there, and in turn raving about the facility, the value was incalculable. The band carried out further work at Trident during 1968, and Apple artists such as Lomax, Mary Hopkin, Billy Preston and the Iveys all recorded there over the next year.
Mixing
Scott, Martin and the Beatles mixed the finished recording at Abbey Road. The transfer of the Trident master tape to acetate proved problematic due to the recording sounding murky when played back on EMI's equipment. The issue was resolved with the help of Geoff Emerick, whom Scott had recently replaced as the Beatles' principal recording engineer. Emerick happened to be visiting Abbey Road, having recently refused to work with the Beatles any longer, due to the tension and abuse that had become commonplace at their recording sessions. A stereo mix of "Hey Jude" was then completed on 2 August and the mono version on 8 August.
Musicologist Walter Everett writes that the song's "most commented-on feature" is its considerable length, at 7:11. Like McCartney, Martin was concerned that radio stations would not play the track because of the length, but Lennon insisted: "They will if it's us." According to Ken Mansfield, Apple's US manager, McCartney remained unconvinced until Mansfield previewed the record for some American disc jockeys and reported that they were highly enthusiastic about the song. "Hey Jude" was one second longer than Richard Harris's recent hit recording of "MacArthur Park", the composer of which, Jimmy Webb, was a visitor to the studio around this time. According to Webb, Martin admitted to him that "Hey Jude" was only allowed to run over seven minutes because of the success of "MacArthur Park". Pleased with the result, McCartney played an acetate copy of "Hey Jude" at a party held by Mick Jagger, at Vesuvio's nightclub in central London, to celebrate the completion of the Rolling Stones' Beggars Banquet album. The song upstaged the Stones' album and, in author John Winn's description, "reportedly ruin[ed]" the party.
In the song's final bridge section, at 2:58, the spoken phrase "Fucking hell!" appears, uttered by Lennon. Scott admits that although he was told about it, he could not hear the words originally. Malcolm Toft, the mix engineer on the Trident recording, recalled that Lennon was overdubbing his harmony vocal when, in reaction to the volume being too loud in his headphones, he first called out "Whoa!" then, two seconds later, swore as he pulled the headphones off.
Composition and structure
"Hey Jude" begins with McCartney singing lead vocals and playing the piano. The patterns he plays are based on three chords: F, C and B (I, V and IV). The main chord progression is "flipped on its head", in Hertsgaard's words, for the coda, since the C chord is replaced by E. Everett comments that McCartney's melody over the verses borrows in part from John Ireland's 1907 liturgical piece Te Deum, as well as (with the first change to a B chord) suggesting the influence of the Drifters' 1960 hit "Save the Last Dance for Me".
The second verse of the song adds accompaniment from acoustic guitar and tambourine. Tim Riley writes that, with the "restrained tom-tom and cymbal fill" that introduces the drum part, "the piano shifts downward to add a flat seventh to the tonic chord, making the downbeat of the bridge the point of arrival ('And any time you feel the pain)." At the end of each bridge, McCartney sings a brief phrase ("Na-na-na na …"), supported by an electric guitar fill, before playing a piano fill that leads to the next verse. According to Riley, this vocal phrase serves to "reorient the harmony for the verse as the piano figure turns upside down into a vocal aside". Additional musical details, such as tambourine on the third verse and subtle harmonies accompanying the lead vocal, are added to sustain interest throughout the four-verse, two-bridge song.
The verse-bridge structure persists for approximately three minutes, after which the band leads into a four-minute-long coda, consisting of nineteen rounds of the song's double plagal cadence. During this coda, the rest of the band, backed by an orchestra that also provides backing vocals, repeats the phrase "Na-na-na na" followed by the words "hey Jude" until the song gradually fades out. In his analysis of the composition, musicologist Alan Pollack comments on the unusual structure of "Hey Jude", in that it uses a "binary form that combines a fully developed, hymn-like song together with an extended, mantra-like jam on a simple chord progression".
Riley considers that the coda's repeated chord sequence (I–VII–IV–I) "answers all the musical questions raised at the beginnings and ends of bridges", since "The flat seventh that posed dominant turns into bridges now has an entire chord built on it." This three-chord refrain allows McCartney "a bedding ... to leap about on vocally", so he ad-libs his vocal performance for the rest of the song. In Riley's estimation, the song "becomes a tour of Paul's vocal range: from the graceful inviting tones of the opening verse, through the mounting excitement of the song itself, to the surging raves of the coda".
Release
"Hey Jude" was released on a 7-inch single on 26 August 1968 in the United States and 30 August in the United Kingdom, backed with "Revolution" on the B-side. It was one of four singles issued simultaneously to launch Apple Records – the others being Mary Hopkin's "Those Were the Days", Jackie Lomax's "Sour Milk Sea", and the Black Dyke Mills Band's "Thingumybob". In advance of the release date, Apple declared 11–18 August to be "National Apple Week" in the UK, and sent gift-wrapped boxes of the records, marked "Our First Four", to Queen Elizabeth II and other members of the royal family, and to Harold Wilson, the prime minister. The release was promoted by Derek Taylor, who, in author Peter Doggett's description, "hyped the first Apple records with typical elan". "Hey Jude" was the first of the four singles, since it was still designated as an EMI/Parlophone release in the UK and a Capitol release in the US, but with the Apple Records logo now added. In the US, "Hey Jude" was the first Capitol-distributed Beatles single to be issued without a picture sleeve. Instead, the record was presented in a black sleeve bearing the words "The Beatles on Apple".
Author Philip Norman comments that aside from "Sour Milk Sea", which Harrison wrote and produced, the first Apple A-sides were all "either written, vocalised, discovered or produced" by McCartney. Lennon wanted "Revolution" to be the A-side of the Beatles single, but his bandmates opted for "Hey Jude". In his 1970 interview with Rolling Stone, he said "Hey Jude" was worthy of an A-side, "but we could have had both." In 1980, he told Playboy he still disagreed with the decision.
Doggett describes "Hey Jude" as a song that "glowed with optimism after a summer that had burned with anxiety and rage within the group and in the troubled world beyond". The single's release coincided with the violent subjugation of Vietnam War protestors at the Democratic National Convention in Chicago, and condemnation in the West of the Soviet-led invasion of Czechoslovakia and its crushing of attempts to introduce democratic reforms there. In this climate, Lennon's espousal of a pacifist agenda over violent confrontation in "Revolution" drew heavy criticism from New Left activists. By contrast, with its more universal message, "Hey Jude" was adopted as an anthem by Czech citizens in their struggle.
The song was first released on an album in February 1970, as the title track to Capitol's North American compilation Hey Jude. The album was conceived as a way to generate income for the Beatles by Allen Klein, the American businessman who, despite McCartney's strong opposition, the other Beatles had appointed to manage the ailing Apple organisation in 1969. "Hey Jude" subsequently appeared on the compilation albums 1967–1970, 20 Greatest Hits, Past Masters, Volume Two and 1.
Promotion
Apple shop window graffiti
A failed early promotional attempt for the single took place after the Beatles' all-night recording session on 7–8 August 1968. With Apple Boutique having closed a week before, McCartney and Francie Schwartz painted Hey Jude/Revolution across its large, whitewashed shop windows. The words were mistaken for antisemitic graffiti (since Jude means "Jew" in German), leading to complaints from the local Jewish community, and the windows being smashed by a passer-by.
Discussing the episode in The Beatles Anthology, McCartney explained that he had been motivated by the location – "Great opportunity. Baker Street, millions of buses going around…" – and added: "I had no idea it meant 'Jew', but if you look at footage of Nazi Germany, Juden Raus was written in whitewashed windows with a Star of David. I swear it never occurred to me." According to Barry Miles, McCartney caused further controversy in his comments to Alan Smith of the NME that month, when, in an interview designed to promote the single, he said: "Starvation in India doesn't worry me one bit, not one iota … And it doesn't worry you, if you're honest. You just pose."
Promotional film
The Beatles hired Michael Lindsay-Hogg to shoot promotional clips for "Hey Jude" and "Revolution", after he had previously directed the clips for "Paperback Writer" and "Rain" in 1966. For "Hey Jude", they settled on the idea of shooting with a live, albeit controlled, audience. In the clip, the Beatles are first seen by themselves, performing the initial chorus and verses, before the audience moves forward and joins them in singing the coda. The decision was made to hire an orchestra and for the vocals to be sung live, to circumvent the Musicians' Union's ban on miming on television, but otherwise the Beatles performed to a backing track. Lindsay-Hogg shot the clip at Twickenham Film Studios on 4 September 1968. Tony Bramwell, a friend of the Beatles, later described the set as "the piano, there; drums, there; and orchestra in two tiers at the back." The event marked Starr's return to the group, after McCartney's criticism of his drumming had led to him walking out during a session for the White Album track "Back in the U.S.S.R." Starr was absent for two weeks.
The final edit was a combination of two different takes and included "introductions" to the song by David Frost (who introduced the Beatles as "the greatest tea-room orchestra in the world") and Cliff Richard, for their respective TV programmes. It first aired in the UK on Frost on Sunday on 8 September 1968, two weeks after Lennon and Ono had appeared on the show to promote their views on performance art and the avant-garde. The "Hey Jude" clip was broadcast in the United States on The Smothers Brothers Comedy Hour on 6 October.
According to Riley, the Frost on Sunday broadcast "kicked 'Hey Jude' into the stratosphere" in terms of popularity. Norman comments that it evoked "palpable general relief" for viewers who had watched Frost's show two weeks before, as Lennon now adopted a supporting role to McCartney, and Ono was "nowhere in sight". Hertsgaard pairs the band's performance with the release of the animated film Yellow Submarine as two events that created "a state of nirvana" for Beatles fans, in contrast with the problems besetting the band regarding Ono's influence and Apple. Referring to the sight of the Beatles engulfed by a crowd made up of "young, old, male, female, black, brown, and white" fans, Hertsgaard describes the promotional clip as "a quintessential sixties moment, a touching tableau of contentment and togetherness".
The 4 September 1968 promo clip is included in the Beatles' 2015 video compilation 1, while the three-disc versions of that compilation, titled 1+, also include an alternate video, with a different introduction and vocal, from the same date.
Critical reception
In his contemporary review of the single, Derek Johnson of the NME wrote: "The intriguing features of 'Hey Jude' are its extreme length and the 40-piece orchestral accompaniment – and personally I would have preferred it without either!" While he viewed the track overall as "a beautiful, compelling song", and the first three minutes as "absolutely sensational", Johnson rued the long coda's "vocal improvisations on the basically repetitive four-bar chorus". Johnson nevertheless concluded that "Hey Jude" and "Revolution" "prove beyond a shadow of a doubt that the Beatles are still streets ahead of their rivals". Chris Welch of Melody Maker said he had initially been unimpressed, but came to greatly admire "Hey Jude" for its "slow, heavy, piano-ridden beat, sensuous, soulful vocals and nice thumpy drums". He added that the track would have benefited from being edited in length, as the climactic ending was "a couple of minutes too long".
Cash Boxs reviewer said that the extended fadeout, having been a device pioneered by the Beatles on "All You Need Is Love", "becomes something of an art form" in "Hey Jude", comprising a "trance-like ceremonial that becomes almost timeless in its continuity". Time magazine described it as "a fadeout that engagingly spoofs the fadeout as a gimmick for ending pop records". The reviewer contrasted "Hey Jude" with "Revolution", saying that McCartney's song "urges activism of a different sort" by "liltingly exhort[ing] a friend to overcome his fears and commit himself in love". Catherine Manfredi of Rolling Stone also read the lyrics as a message from McCartney to Lennon to end his negative relationships with women: "to break the old pattern; to really go through with love". Manfredi commented on the duality of the song's eponymous protagonist as a representation of good, in Saint Jude, "the Patron of that which is called Impossible", and of evil, in Judas Iscariot. Other commentators interpreted "Hey Jude" as being directed at Bob Dylan, then semi-retired in Woodstock.
Writing in 1971, Robert Christgau of The Village Voice called it "one of [McCartney's] truest and most forthright love songs" and said that McCartney's romantic side was ill-served by the inclusion of "'I Will', a piece of fluff" on The Beatles. In their 1975 book The Beatles: An Illustrated Record, critics Roy Carr and Tony Tyler wrote that "Hey Jude" "promised great things" for the ill-conceived Apple enterprise and described the song as "the last great Beatles single recorded specifically for the 45s market". They commented also that "the epic proportions of the piece" encouraged many imitators, yet these other artists "[failed] to capture the gentleness and sympathy of the Beatles' communal feel". Walter Everett admires the melody as a "marvel of construction, contrasting wide leaps with stepwise motions, sustained tones with rapid movement, syllabic with melismatic word-setting, and tension ... with resolution". He cites Van Morrison's "Astral Weeks", Donovan's "Atlantis", the Moody Blues' "Never Comes the Day" and the Allman Brothers' "Revival" among the many songs with "mantralike repeated sections" that followed the release of "Hey Jude". In his entry for the song in his 1993 book Rock and Roll: The 100 Best Singles, Paul Williams describes it as a "song about breathing". He adds: "'Hey Jude' kicks ass like Van Gogh or Beethoven in their prime. It is, let's say, one of the wonders of this corner of creation ... It opens out like the sky at night or the idea of the existence of God."
Alan Pollack highlights the song as "such a good illustration of two compositional lessons – how to fill a large canvas with simple means, and how to use diverse elements such as harmony, bassline, and orchestration to articulate form and contrast." Pollack says that the long coda provides "an astonishingly transcendental effect", while AllMusic's Richie Unterberger similarly opines: "What could have very easily been boring is instead hypnotic because McCartney varies the vocal with some of the greatest nonsense scatting ever heard in rock, ranging from mantra-like chants to soulful lines to James Brown power screams." In his book Revolution in the Head, Ian MacDonald wrote that the "pseudo-soul shrieking in the fade-out may be a blemish" but he praised the song as "a pop/rock hybrid drawing on the best of both idioms". MacDonald concluded: "'Hey Jude' strikes a universal note, touching on an archetypal moment in male sexual psychology with a gentle wisdom one might properly call inspired." Lennon said the song was "one of [McCartney's] masterpieces".
Commercial performance
The single was a highly successful debut for Apple Records, a result that contrasted with the public embarrassment the band faced after the recent closure of their short-lived retail venture, Apple Boutique. In the description of music journalist Paul Du Noyer, the song's "monumental quality ... amazed the public in 1968"; in addition, the release silenced detractors in the British mainstream press who had relished the opportunity to criticise the band for their December 1967 television special, Magical Mystery Tour, and their trip to Rishikesh in early 1968. In the US, the single similarly brought an end to speculation that the Beatles' popularity might be diminishing, after "Lady Madonna" had peaked at number 4.
"Hey Jude" reached the top of Britain's Record Retailer chart (subsequently adopted as the UK Singles Chart) in September 1968. It lasted two weeks on top before being replaced by Hopkin's "Those Were the Days", which McCartney helped promote. "Hey Jude" was certified gold by the Recording Industry Association of America (RIAA) on 13 September; that same week, NME reported that two million copies of the single had been sold. The song entered the Billboard Hot 100 in the US on 14 September, beginning a nineteen-week chart run there. It reached number one on 28 September and held that position for nine weeks, for three of which "Those Were the Days" held the number-two spot. This was the longest run at number one for a single in the US until 1977. The song was the 16th number-one hit there for the Beatles. Billboard ranked it as the number-one song for 1968. In Australia, "Hey Jude" was number one for 13 weeks, which remained a record there until Abba's "Fernando" in 1976. It also topped the charts in Belgium, Brazil, Canada, Denmark, France, Ireland, Malaysia, the Netherlands, New Zealand, Norway, the Philippines, Singapore, Spain, Sweden, Switzerland and West Germany.
On 30 November 1968, NME reported that sales had reached nearly six million copies worldwide. By 1999, "Hey Jude" had sold an estimated eight million copies worldwide. That year, it was certified 4x platinum by the RIAA, representing four million units shipped in the US. As of December 2018, "Hey Jude" was the 54th-best-selling single of all time in the UK – one of six Beatles songs included on the top sales rankings published by the Official Charts Company.
Awards and accolades
"Hey Jude" was nominated for the Grammy Awards of 1969 in the categories of Record of the Year, Song of the Year and Best Pop Performance by a Duo or Group with Vocal, but failed to win any of them. In the 1968 NME Readers' Poll, "Hey Jude" was named the best single of the year, and the song also won the 1968 Ivor Novello Award for "A-Side With the Highest Sales". "Hey Jude" was inducted into the National Academy of Recording Arts and Sciences Grammy Hall of Fame in 2001 and it is one of the Rock and Roll Hall of Fame's "500 Songs That Shaped Rock & Roll".
In 2004, Rolling Stone ranked "Hey Jude" at number eight on the "500 Greatest Songs of All Time", making it the highest-placed Beatles song on the list; it dropped to number 89 in the 2021 revised list. Among its many appearances in other best-song-of-all-time lists, VH1 placed it ninth in 2000 and Mojo ranked it at number 29 in the same year, having placed the song seventh in a 1997 list of "The 100 Greatest Singles of All Time". In 1976, the NME ranked it 38th on the magazine's "Top 100 Singles of All Time", and the track appeared at number 77 on the same publication's "The 500 Greatest Songs of All Time" in 2014. In January 2001, "Hey Jude" came in third on Channel 4's list of the "100 Greatest Singles". The Amusement & Music Operators Association ranks "Hey Jude" as the 11th-best jukebox single of all time. In 2008, the song appeared in eighth place on Billboards "All Time Hot 100 Songs".
In July 2006, Mojo placed "Hey Jude" at number 12 on its list of "The 101 Greatest Beatles Songs". On a similar list compiled four years later, Rolling Stone ranked the song at number seven. In 2015, the ITV program The Nation's Favourite Beatles Number One ranked "Hey Jude" in first place. In 2018, the music staff of Time Out London ranked it at number 49 on their list of the best Beatles songs. Writing in the magazine, Nick Levine said: "Don't allow yourself to overlook this song because of its sheer ubiquity ... 'Hey Jude' is a huge-hearted, super-emotional epic that climaxes with one of pop's most legendary hooks."
Auctioned lyrics and memorabilia
In his 1996 article about the single's release, for Mojo, Paul Du Noyer said that the writing of "Hey Jude" had become "one of the best-known stories in Beatles folklore". In a 2005 interview, Ono said that for McCartney and for Julian and Cynthia Lennon, the scenario was akin to a drama, in that "Each person has something to be totally miserable about, because of the way they were put into this play. I have incredible sympathy for each of them." Du Noyer quoted Cynthia Lennon as saying of "Hey Jude", "it always bring tears to my eyes, that song."
Julian discovered that "Hey Jude" had been written for him almost 20 years after the fact. He recalled of his and McCartney's relationship: "Paul and I used to hang about quite a bit – more than Dad and I did. We had a great friendship going and there seems to be far more pictures of me and Paul playing together at that age than there are pictures of me and my dad." In 1996, Julian paid £25,000($33,958.25) for the recording notes to "Hey Jude" at an auction. He spent a further £35,000($47,543.65) at the auction, buying John Lennon memorabilia. John Cousins, Julian Lennon's manager, stated at the time: "He has a few photographs of his father, but not very much else. He is collecting for personal reasons; these are family heirlooms if you like."
In 2002, the original handwritten lyrics for the song were nearly auctioned off at Christie's in London. The sheet of notepaper with the scrawled lyrics had been expected to fetch up to £80,000($108,671.20) at the auction, which was scheduled for 30 April 2002. McCartney went to court to stop the auction, claiming the paper had disappeared from his West London home. Richard Morgan, representing Christie's, said McCartney had provided no evidence that he had ever owned the piece of paper on which the lyrics were written. The courts decided in McCartney's favour and prohibited the sale of the lyrics. They had been sent to Christie's for auction by Frenchman Florrent Tessier, who said he purchased the piece of paper at a street market stall in London for £10($13.58) in the early 1970s. In the original catalogue for the auction, Julian Lennon had written, "It's very strange to think that someone has written a song about you. It still touches me."
Along with "Yesterday", "Hey Jude" was one of the songs that McCartney has highlighted when attempting to have some of the official Beatles songwriting credits changed to McCartney–Lennon. McCartney applied the revised credit to this and 18 other Lennon–McCartney songs on his 2002 live album Back in the U.S., attracting criticism from Ono, as Lennon's widow, and from Starr, the only other surviving member of the Beatles.
Cover versions and McCartney live performances
In 1968, R&B singer Wilson Pickett released a cover recorded at Muscle Shoals Sound Studio, with a guitar part played by a young Duane Allman, who recommended the song to Pickett. Eric Clapton commented, "I remember hearing [it] and calling either Ahmet Ertegun or Tom Dowd and saying, 'Who's that guitar player?' ... To this day, I've never heard better rock guitar playing on an R&B record. It's the best." Session musician Jimmy Johnson, who played on the recording, said that Allman's solo "created Southern rock". Pickett's version reached number 23 on the Hot 100 and 13 on the Billboard R&B chart.
"Hey Jude" was one of the few Beatles songs that Elvis Presley covered, when he rehearsed the track at his 1969 Memphis sessions with producer Chips Moman, a recording that appeared on the 1972 album Elvis Now. A medley of "Yesterday" and "Hey Jude" was included on the 1999 reissue of Presley's 1970 live album On Stage. Katy Perry performed "Hey Jude" as part of the 2012 MusiCares Person of the Year concert honouring McCartney.
McCartney played "Hey Jude" throughout his 1989–90 world tour, his first tour since Lennon's murder in 1980. McCartney had considered including it as the closing song on his band Wings' 1975 tours, but decided that "it just didn't feel right." He has continued to feature the song in his concerts, leading the audience in organised singalongs whereby different segments of the crowd – such as those in a certain section of the venue, then only men followed by only the women – chant the "Na-na-na na" refrain.
McCartney performed "Hey Jude" in the White House East Room as part of a concert honoring him with the Library of Congress Gershwin Prize for Popular Song in June 2010.
McCartney also sang the song in the closing moments of the opening ceremony of the 2012 Summer Olympics hosted in London. On 4 August 2012, McCartney led the crowd in a rendition of "Hey Jude" while watching cycling at the velodrome.
Personnel
According to Ian MacDonald and Mark Lewisohn:
The Beatles
Paul McCartney– lead vocal, piano, bass guitar, handclaps
John Lennon– backing vocal, acoustic guitar, handclaps
George Harrison– backing vocal, electric guitar, handclaps
Ringo Starr– backing vocal, drums, tambourine, handclaps
Additional musicians
Uncredited 36-piece orchestra– 10 violins, three violas, three cellos, two double basses, two flutes, two clarinets, one bass clarinet, one bassoon, one contrabassoon, four trumpets, two horns, four trombones, and one percussion instrument; 35 of these musicians on additional backing vocals and handclaps
Charts
Weekly charts
Year-end charts
All-time charts
Certifications and sales
See also
Billboard Year-End Hot 100 singles of 1968
List of number-one singles in Australia during the 1960s
List of Top 25 singles for 1968 in Australia
List of Billboard Hot 100 number-one singles of 1968
List of Cash Box Top 100 number-one singles of 1968
List of number-one singles of 1968 (Canada)
List of Dutch Top 40 number-one singles of 1968
List of number-one hits of 1968 (Germany)
List of number-one singles of 1968 (Ireland)
List of number-one singles in 1968 (New Zealand)
List of number-one songs in Norway
List of number-one singles of 1968 (Spain)
List of number-one singles from 1968 to 1979 (Switzerland)
List of UK charts and number-one singles (1952–1969)
List of best-selling singles of the 1960s in the United Kingdom
"The Official BBC Children in Need Medley"
Notes
References
Sources
External links
Full lyrics for the song at the Beatles' official website
"David Frost Meets The Beatles" at Mojo4music.com
1968 songs
1968 singles
The Beatles songs
Apple Records singles
Songs written by Lennon–McCartney
Song recordings produced by George Martin
Songs published by Northern Songs
Music videos directed by Michael Lindsay-Hogg
Billboard Hot 100 number-one singles
Cashbox number-one singles
Dutch Top 40 number-one singles
Single Top 100 number-one singles
Irish Singles Chart number-one singles
Number-one singles in Australia
Number-one singles in Austria
Number-one singles in Germany
Number-one singles in New Zealand
Number-one singles in Norway
Number-one singles in Spain
Number-one singles in Switzerland
RPM Top Singles number-one singles
UK Singles Chart number-one singles
Ultratop 50 Singles (Flanders) number-one singles
Grammy Hall of Fame Award recipients
British pop rock songs
Pop ballads
Rock ballads
1960s ballads
Wilson Pickett songs
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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"
] |
[
"Hey Jude",
"Awards and accolades",
"what awards did they receiev?",
"nominated for the Grammy Awards of 1969",
"did it win any other awards?",
"failed to win any of them.",
"what accolades did it recieve?",
"NME Readers' Poll, \"Hey Jude\" was named the best single of the year,",
"did ti receive any others?",
"1968 Ivor Novello Award for \"A-Side With the Highest Sales",
"Are there any other interesting aspects about this article?",
"In 2001, \"Hey Jude\" was inducted into the National Academy of Recording Arts and Sciences Grammy Hall of Fame."
] |
C_a72e694aae574dd9892050d1ae182388_0
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were there any other good things about it?
| 6 |
Besides being inducted into the National Academy of Recording Arts and Science, were there any other good things about Hey Jude?
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Hey Jude
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"Hey Jude" was nominated for the Grammy Awards of 1969 in the categories of Record of the Year, Song of the Year and Best Pop Performance by a Duo or Group with Vocal, but failed to win any of them. In the 1968 NME Readers' Poll, "Hey Jude" was named the best single of the year, and the song also won the 1968 Ivor Novello Award for "A-Side With the Highest Sales". In 2001, "Hey Jude" was inducted into the National Academy of Recording Arts and Sciences Grammy Hall of Fame. In 2004, Rolling Stone ranked "Hey Jude" at number eight on the "500 Greatest Songs of All Time", making it the highest-placed Beatles song on the list. Among its many appearances in other best-song-of-all-time lists, VH1 placed it seventh in 2000 and Mojo ranked it at number 29 in the same year, having placed the song seventh in a 1997 list of "The 100 Greatest Singles of All Time". In 1976, the NME ranked it 38th on the magazine's "Top 100 Singles of All Time", and the track appeared at number 77 on the same publication's "The 500 Greatest Songs of All Time" in 2014. In January 2001, "Hey Jude" came in third on Channel 4's list of the "100 Greatest Singles". The Amusement & Music Operators Association ranks "Hey Jude" as the 11th-best jukebox single of all time. In 2008, the song appeared in eighth place on Billboard's "All Time Hot 100 Songs". In July 2006, Mojo placed "Hey Jude" at number 12 on its list of "The 101 Greatest Beatles Songs" (between "Eleanor Rigby" and "Come Together"). On a similar list compiled four years later, Rolling Stone ranked the song at number seven. In 2015, the ITV program The Nation's Favourite Beatles Number One ranked "Hey Jude" in first place. CANNOTANSWER
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In 2004, Rolling Stone ranked "Hey Jude" at number eight on the "500 Greatest Songs of All Time",
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"Hey Jude" is a song by the English rock band the Beatles that was released as a non-album single in August 1968. It was written by Paul McCartney and credited to the Lennon–McCartney partnership. The single was the Beatles' first release on their Apple record label and one of the "First Four" singles by Apple's roster of artists, marking the label's public launch. "Hey Jude" was a number-one hit in many countries around the world and became the year's top-selling single in the UK, the US, Australia and Canada. Its nine-week run at number one on the Billboard Hot 100 tied the all-time record in 1968 for the longest run at the top of the US charts, a record it held for nine years. It has sold approximately eight million copies and is frequently included on music critics' lists of the greatest songs of all time.
The writing and recording of "Hey Jude" coincided with a period of upheaval in the Beatles. The ballad evolved from "Hey Jules", a song McCartney wrote to comfort John Lennon's young son Julian, after Lennon had left his wife for the Japanese artist Yoko Ono. The lyrics espouse a positive outlook on a sad situation, while also encouraging "Jude" to pursue his opportunities to find love. After the fourth verse, the song shifts to a coda featuring a "Na-na-na na" refrain that lasts for over four minutes.
"Hey Jude" was the first Beatles song to be recorded on eight-track recording equipment. The sessions took place at Trident Studios in central London, midway through the recording of the group's self-titled double album (also known as the "White Album"), and led to an argument between McCartney and George Harrison over the song's guitar part. Ringo Starr later left the band only to return shortly before they filmed the promotional clip for the single. The clip was directed by Michael Lindsay-Hogg and first aired on David Frost's UK television show. Contrasting with the problems afflicting the band, this performance captured the song's theme of optimism and togetherness by featuring the studio audience joining the Beatles as they sang the coda.
At over seven minutes in length, "Hey Jude" was the longest single to top the British charts up to that time. Its arrangement and extended coda encouraged many imitative works through to the early 1970s. In 2013, Billboard magazine named it the 11th "biggest" song of all time in terms of chart success. McCartney has continued to perform "Hey Jude" in concert since Lennon's death in 1980, leading audiences in singing the coda. Julian Lennon and McCartney have each bid successfully at auction for items of memorabilia related to the song's creation.
Inspiration and writing
In May 1968, John Lennon and his wife Cynthia separated due to his affair with Japanese artist Yoko Ono. The following month, Paul McCartney drove out to visit the Lennons' five-year-old son Julian, at Kenwood, the family's home in Weybridge. Cynthia had been part of the Beatles' social circle since before the band's rise to fame in 1963; McCartney later said he found it "a bit much for them suddenly to be personae non gratae and out of my life". Cynthia Lennon recalled of McCartney's surprise visit: "I was touched by his obvious concern for our welfare ... On the journey down he composed 'Hey Jude' in the car. I will never forget Paul's gesture of care and concern in coming to see us." The song's original title was "Hey Jules", and it was intended to comfort Julian from the stress of his parents' separation. McCartney said, "I knew it was not going to be easy for him", and that he changed the name to "Jude" "because I thought that sounded a bit better".
According to music journalist Chris Hunt, in the weeks after writing the song, McCartney "test[ed] his latest composition on anyone too polite to refuse. And that meant everyone." On 30 June, after recording the Black Dyke Mills Band's rendition of his instrumental "Thingumybob" in Yorkshire, McCartney stopped at the village of Harrold in Bedfordshire and performed "Hey Jude" at a local pub. He also regaled members of the Bonzo Dog Band with the song while producing their single "I'm the Urban Spaceman", in London, and interrupted a recording session by the Barron Knights to do the same. Ron Griffith of the group the Iveys – soon to be known as Badfinger and, like the Black Dyke Mills Band, an early signing to the Beatles' new record label Apple Records – recalled that on one of their first days in the studio, McCartney "gave us a full concert rendition of 'Hey Jude'".
The intensity of Lennon and Ono's relationship made any songwriting collaboration between Lennon and McCartney impossible. Keen to support his friend nevertheless, McCartney let the couple stay at his house in St John's Wood, but when Lennon discovered a note written by McCartney containing disparaging and racist comments about Ono, the couple moved out. McCartney presented "Hey Jude" to Lennon on 26 July, when he and Ono visited McCartney's home. McCartney assured him that he would "fix" the line "the movement you need is on your shoulder", reasoning that "it's a stupid expression; it sounds like a parrot." According to McCartney, Lennon replied: "You won't, you know. That's the best line in the song." McCartney retained the phrase. Although McCartney originally wrote "Hey Jude" for Julian, Lennon thought it had actually been written for him. In a 1980 interview, Lennon stated that he "always heard it as a song to me" and contended that, on one level, McCartney was giving his blessing to Lennon and Ono's relationship, while, on another, he was disappointed to be usurped as Lennon's friend and creative partner.
Other people believed McCartney wrote the song about them, including Judith Simons, a journalist with the Daily Express. Still others, including Lennon, have speculated that in the lyrics to "Hey Jude", McCartney's failing long-term relationship with Jane Asher provided an unconscious "message to himself". McCartney and Asher had announced their engagement on 25 December 1967, yet he began an affair with Linda Eastman in June 1968; that same month, Francie Schwartz, an American who was in London to discuss a film proposal with Apple, began living with McCartney in St John's Wood. When Lennon mentioned that he thought the song was about him and Ono, McCartney denied it and told Lennon he had written the song about himself.
Author Mark Hertsgaard has commented that "many of the song's lyrics do seem directed more at a grown man on the verge of a powerful new love, especially the lines 'you have found her now go and get her' and 'you're waiting for someone to perform with.'" Music critic and author Tim Riley writes: "If the song is about self-worth and self-consolation in the face of hardship, the vocal performance itself conveys much of the journey. He begins by singing to comfort someone else, finds himself weighing his own feelings in the process, and finally, in the repeated refrains that nurture his own approbation, he comes to believe in himself."
Production
EMI rehearsals
Having earmarked the song for release as a single, the Beatles recorded "Hey Jude" during the sessions for their self-titled double album, commonly known as "the White Album". The sessions were marked by an element of discord within the group for the first time, partly as a result of Ono's constant presence at Lennon's side. The strained relations were also reflective of the four band members' divergence following their communal trip to Rishikesh in the spring of 1968 to study Transcendental Meditation.
The Beatles first taped 25 takes of the song at EMI Studios in London over two nights, 29 and 30 July 1968, with George Martin as their producer. These dates served as rehearsals, however, since they planned to record the master track at Trident Studios to utilise their eight-track recording machine (EMI was still limited to four-tracks). The first two takes from 29 July, which author and critic Kenneth Womack describes as a "jovial" session, have been released on the 50th Anniversary box set of the White Album in 2018 and the Anthology 3 compilation in 1996, respectively.
The 30 July rehearsals were filmed for a short documentary titled Music!, which was produced by the National Music Council of Great Britain. This was the first time that the Beatles had permitted a camera crew to film them developing a song in the studio. The film shows only three of the Beatles performing "Hey Jude", as George Harrison remained in the studio control room, with Martin and EMI recording engineer Ken Scott. During the rehearsals that day, Harrison and McCartney had a heated disagreement over the lead guitar part for the song. Harrison's idea was to play a guitar phrase as a response to each line of the vocal, which did not fit with McCartney's conception of the song's arrangement, and he vetoed it. Author Simon Leng views this as indicative of how Harrison was increasingly allowed little room to develop ideas on McCartney compositions, whereas he was free to create empathetic guitar parts for Lennon's songs of the period. In a 1994 interview, McCartney said, "looking back on it, I think, Okay. Well, it was bossy, but it was ballsy of me, because I could have bowed to the pressure." Ron Richards, a record producer who worked for Martin at both Parlophone and AIR Studios, said McCartney was "oblivious to anyone else's feelings in the studio", and that he was driven to making the best possible record, at almost any cost.
Trident Studios recording
The Beatles recorded the master track for "Hey Jude" at Trident, where McCartney and Harrison had each produced sessions for their Apple artists, on 31 July. Trident's founder, Norman Sheffield, recalled that Mal Evans, the Beatles' aide and former roadie, insisted that some marijuana plants he had brought be placed in the studio to make the place "soft", consistent with the band's wishes. Barry Sheffield served as recording engineer for the session. The line-up on the basic track was McCartney on piano and lead vocal, Lennon on acoustic guitar, Harrison on electric guitar, and Ringo Starr on drums. The Beatles recorded four takes of "Hey Jude", the first of which was selected as the master. With drums intended to be absent for the first two verses, McCartney began this take unaware that Starr had just left for a toilet break. Starr soon returned – "tiptoeing past my back rather quickly", in McCartney's recollection – and performed his cue perfectly.
On 1 August, the group carried out overdubs on the basic track, again at Trident. These additions included McCartney's lead vocal and bass guitar; backing vocals from Lennon, McCartney and Harrison; and tambourine, played by Starr. McCartney's vocal over the long coda, starting at around three minutes into the song, included a series of improvised shrieks that he later described as "Cary Grant on heat!" They then added a 36-piece orchestra over the coda, scored by Martin. The orchestra consisted of ten violins, three violas, three cellos, two flutes, one contra bassoon, one bassoon, two clarinets, one contra bass clarinet, four trumpets, four trombones, two horns, percussion and two string basses. According to Norman Sheffield, there was dissension initially among the orchestral musicians, some of whom "were looking down their noses at the Beatles, I think". Sheffield recalls that McCartney ensured their cooperation by demanding: "Do you guys want to get fucking paid or not?" During the first few takes, McCartney was unhappy about the lack of energy and passion in the orchestra's performance, so he stood up on the grand piano and started conducting the musicians from there.
The Beatles then asked the orchestra members if they would clap their hands and sing along to the refrain in the coda. All but one of the musicians complied (for a double fee), with the abstainer reportedly saying, "I'm not going to clap my hands and sing Paul McCartney's bloody song!" Apple Records assistant Chris O'Dell says she joined the cast of backing singers on the song; one of the label's first signings, Jackie Lomax, also recalled participating.
"Hey Jude" was the first Beatles song to be recorded on eight-track equipment. Trident Studios were paid £25 per hour by EMI for the sessions. Sheffield said that the studio earned about £1,000 in total, but by having the Beatles record there, and in turn raving about the facility, the value was incalculable. The band carried out further work at Trident during 1968, and Apple artists such as Lomax, Mary Hopkin, Billy Preston and the Iveys all recorded there over the next year.
Mixing
Scott, Martin and the Beatles mixed the finished recording at Abbey Road. The transfer of the Trident master tape to acetate proved problematic due to the recording sounding murky when played back on EMI's equipment. The issue was resolved with the help of Geoff Emerick, whom Scott had recently replaced as the Beatles' principal recording engineer. Emerick happened to be visiting Abbey Road, having recently refused to work with the Beatles any longer, due to the tension and abuse that had become commonplace at their recording sessions. A stereo mix of "Hey Jude" was then completed on 2 August and the mono version on 8 August.
Musicologist Walter Everett writes that the song's "most commented-on feature" is its considerable length, at 7:11. Like McCartney, Martin was concerned that radio stations would not play the track because of the length, but Lennon insisted: "They will if it's us." According to Ken Mansfield, Apple's US manager, McCartney remained unconvinced until Mansfield previewed the record for some American disc jockeys and reported that they were highly enthusiastic about the song. "Hey Jude" was one second longer than Richard Harris's recent hit recording of "MacArthur Park", the composer of which, Jimmy Webb, was a visitor to the studio around this time. According to Webb, Martin admitted to him that "Hey Jude" was only allowed to run over seven minutes because of the success of "MacArthur Park". Pleased with the result, McCartney played an acetate copy of "Hey Jude" at a party held by Mick Jagger, at Vesuvio's nightclub in central London, to celebrate the completion of the Rolling Stones' Beggars Banquet album. The song upstaged the Stones' album and, in author John Winn's description, "reportedly ruin[ed]" the party.
In the song's final bridge section, at 2:58, the spoken phrase "Fucking hell!" appears, uttered by Lennon. Scott admits that although he was told about it, he could not hear the words originally. Malcolm Toft, the mix engineer on the Trident recording, recalled that Lennon was overdubbing his harmony vocal when, in reaction to the volume being too loud in his headphones, he first called out "Whoa!" then, two seconds later, swore as he pulled the headphones off.
Composition and structure
"Hey Jude" begins with McCartney singing lead vocals and playing the piano. The patterns he plays are based on three chords: F, C and B (I, V and IV). The main chord progression is "flipped on its head", in Hertsgaard's words, for the coda, since the C chord is replaced by E. Everett comments that McCartney's melody over the verses borrows in part from John Ireland's 1907 liturgical piece Te Deum, as well as (with the first change to a B chord) suggesting the influence of the Drifters' 1960 hit "Save the Last Dance for Me".
The second verse of the song adds accompaniment from acoustic guitar and tambourine. Tim Riley writes that, with the "restrained tom-tom and cymbal fill" that introduces the drum part, "the piano shifts downward to add a flat seventh to the tonic chord, making the downbeat of the bridge the point of arrival ('And any time you feel the pain)." At the end of each bridge, McCartney sings a brief phrase ("Na-na-na na …"), supported by an electric guitar fill, before playing a piano fill that leads to the next verse. According to Riley, this vocal phrase serves to "reorient the harmony for the verse as the piano figure turns upside down into a vocal aside". Additional musical details, such as tambourine on the third verse and subtle harmonies accompanying the lead vocal, are added to sustain interest throughout the four-verse, two-bridge song.
The verse-bridge structure persists for approximately three minutes, after which the band leads into a four-minute-long coda, consisting of nineteen rounds of the song's double plagal cadence. During this coda, the rest of the band, backed by an orchestra that also provides backing vocals, repeats the phrase "Na-na-na na" followed by the words "hey Jude" until the song gradually fades out. In his analysis of the composition, musicologist Alan Pollack comments on the unusual structure of "Hey Jude", in that it uses a "binary form that combines a fully developed, hymn-like song together with an extended, mantra-like jam on a simple chord progression".
Riley considers that the coda's repeated chord sequence (I–VII–IV–I) "answers all the musical questions raised at the beginnings and ends of bridges", since "The flat seventh that posed dominant turns into bridges now has an entire chord built on it." This three-chord refrain allows McCartney "a bedding ... to leap about on vocally", so he ad-libs his vocal performance for the rest of the song. In Riley's estimation, the song "becomes a tour of Paul's vocal range: from the graceful inviting tones of the opening verse, through the mounting excitement of the song itself, to the surging raves of the coda".
Release
"Hey Jude" was released on a 7-inch single on 26 August 1968 in the United States and 30 August in the United Kingdom, backed with "Revolution" on the B-side. It was one of four singles issued simultaneously to launch Apple Records – the others being Mary Hopkin's "Those Were the Days", Jackie Lomax's "Sour Milk Sea", and the Black Dyke Mills Band's "Thingumybob". In advance of the release date, Apple declared 11–18 August to be "National Apple Week" in the UK, and sent gift-wrapped boxes of the records, marked "Our First Four", to Queen Elizabeth II and other members of the royal family, and to Harold Wilson, the prime minister. The release was promoted by Derek Taylor, who, in author Peter Doggett's description, "hyped the first Apple records with typical elan". "Hey Jude" was the first of the four singles, since it was still designated as an EMI/Parlophone release in the UK and a Capitol release in the US, but with the Apple Records logo now added. In the US, "Hey Jude" was the first Capitol-distributed Beatles single to be issued without a picture sleeve. Instead, the record was presented in a black sleeve bearing the words "The Beatles on Apple".
Author Philip Norman comments that aside from "Sour Milk Sea", which Harrison wrote and produced, the first Apple A-sides were all "either written, vocalised, discovered or produced" by McCartney. Lennon wanted "Revolution" to be the A-side of the Beatles single, but his bandmates opted for "Hey Jude". In his 1970 interview with Rolling Stone, he said "Hey Jude" was worthy of an A-side, "but we could have had both." In 1980, he told Playboy he still disagreed with the decision.
Doggett describes "Hey Jude" as a song that "glowed with optimism after a summer that had burned with anxiety and rage within the group and in the troubled world beyond". The single's release coincided with the violent subjugation of Vietnam War protestors at the Democratic National Convention in Chicago, and condemnation in the West of the Soviet-led invasion of Czechoslovakia and its crushing of attempts to introduce democratic reforms there. In this climate, Lennon's espousal of a pacifist agenda over violent confrontation in "Revolution" drew heavy criticism from New Left activists. By contrast, with its more universal message, "Hey Jude" was adopted as an anthem by Czech citizens in their struggle.
The song was first released on an album in February 1970, as the title track to Capitol's North American compilation Hey Jude. The album was conceived as a way to generate income for the Beatles by Allen Klein, the American businessman who, despite McCartney's strong opposition, the other Beatles had appointed to manage the ailing Apple organisation in 1969. "Hey Jude" subsequently appeared on the compilation albums 1967–1970, 20 Greatest Hits, Past Masters, Volume Two and 1.
Promotion
Apple shop window graffiti
A failed early promotional attempt for the single took place after the Beatles' all-night recording session on 7–8 August 1968. With Apple Boutique having closed a week before, McCartney and Francie Schwartz painted Hey Jude/Revolution across its large, whitewashed shop windows. The words were mistaken for antisemitic graffiti (since Jude means "Jew" in German), leading to complaints from the local Jewish community, and the windows being smashed by a passer-by.
Discussing the episode in The Beatles Anthology, McCartney explained that he had been motivated by the location – "Great opportunity. Baker Street, millions of buses going around…" – and added: "I had no idea it meant 'Jew', but if you look at footage of Nazi Germany, Juden Raus was written in whitewashed windows with a Star of David. I swear it never occurred to me." According to Barry Miles, McCartney caused further controversy in his comments to Alan Smith of the NME that month, when, in an interview designed to promote the single, he said: "Starvation in India doesn't worry me one bit, not one iota … And it doesn't worry you, if you're honest. You just pose."
Promotional film
The Beatles hired Michael Lindsay-Hogg to shoot promotional clips for "Hey Jude" and "Revolution", after he had previously directed the clips for "Paperback Writer" and "Rain" in 1966. For "Hey Jude", they settled on the idea of shooting with a live, albeit controlled, audience. In the clip, the Beatles are first seen by themselves, performing the initial chorus and verses, before the audience moves forward and joins them in singing the coda. The decision was made to hire an orchestra and for the vocals to be sung live, to circumvent the Musicians' Union's ban on miming on television, but otherwise the Beatles performed to a backing track. Lindsay-Hogg shot the clip at Twickenham Film Studios on 4 September 1968. Tony Bramwell, a friend of the Beatles, later described the set as "the piano, there; drums, there; and orchestra in two tiers at the back." The event marked Starr's return to the group, after McCartney's criticism of his drumming had led to him walking out during a session for the White Album track "Back in the U.S.S.R." Starr was absent for two weeks.
The final edit was a combination of two different takes and included "introductions" to the song by David Frost (who introduced the Beatles as "the greatest tea-room orchestra in the world") and Cliff Richard, for their respective TV programmes. It first aired in the UK on Frost on Sunday on 8 September 1968, two weeks after Lennon and Ono had appeared on the show to promote their views on performance art and the avant-garde. The "Hey Jude" clip was broadcast in the United States on The Smothers Brothers Comedy Hour on 6 October.
According to Riley, the Frost on Sunday broadcast "kicked 'Hey Jude' into the stratosphere" in terms of popularity. Norman comments that it evoked "palpable general relief" for viewers who had watched Frost's show two weeks before, as Lennon now adopted a supporting role to McCartney, and Ono was "nowhere in sight". Hertsgaard pairs the band's performance with the release of the animated film Yellow Submarine as two events that created "a state of nirvana" for Beatles fans, in contrast with the problems besetting the band regarding Ono's influence and Apple. Referring to the sight of the Beatles engulfed by a crowd made up of "young, old, male, female, black, brown, and white" fans, Hertsgaard describes the promotional clip as "a quintessential sixties moment, a touching tableau of contentment and togetherness".
The 4 September 1968 promo clip is included in the Beatles' 2015 video compilation 1, while the three-disc versions of that compilation, titled 1+, also include an alternate video, with a different introduction and vocal, from the same date.
Critical reception
In his contemporary review of the single, Derek Johnson of the NME wrote: "The intriguing features of 'Hey Jude' are its extreme length and the 40-piece orchestral accompaniment – and personally I would have preferred it without either!" While he viewed the track overall as "a beautiful, compelling song", and the first three minutes as "absolutely sensational", Johnson rued the long coda's "vocal improvisations on the basically repetitive four-bar chorus". Johnson nevertheless concluded that "Hey Jude" and "Revolution" "prove beyond a shadow of a doubt that the Beatles are still streets ahead of their rivals". Chris Welch of Melody Maker said he had initially been unimpressed, but came to greatly admire "Hey Jude" for its "slow, heavy, piano-ridden beat, sensuous, soulful vocals and nice thumpy drums". He added that the track would have benefited from being edited in length, as the climactic ending was "a couple of minutes too long".
Cash Boxs reviewer said that the extended fadeout, having been a device pioneered by the Beatles on "All You Need Is Love", "becomes something of an art form" in "Hey Jude", comprising a "trance-like ceremonial that becomes almost timeless in its continuity". Time magazine described it as "a fadeout that engagingly spoofs the fadeout as a gimmick for ending pop records". The reviewer contrasted "Hey Jude" with "Revolution", saying that McCartney's song "urges activism of a different sort" by "liltingly exhort[ing] a friend to overcome his fears and commit himself in love". Catherine Manfredi of Rolling Stone also read the lyrics as a message from McCartney to Lennon to end his negative relationships with women: "to break the old pattern; to really go through with love". Manfredi commented on the duality of the song's eponymous protagonist as a representation of good, in Saint Jude, "the Patron of that which is called Impossible", and of evil, in Judas Iscariot. Other commentators interpreted "Hey Jude" as being directed at Bob Dylan, then semi-retired in Woodstock.
Writing in 1971, Robert Christgau of The Village Voice called it "one of [McCartney's] truest and most forthright love songs" and said that McCartney's romantic side was ill-served by the inclusion of "'I Will', a piece of fluff" on The Beatles. In their 1975 book The Beatles: An Illustrated Record, critics Roy Carr and Tony Tyler wrote that "Hey Jude" "promised great things" for the ill-conceived Apple enterprise and described the song as "the last great Beatles single recorded specifically for the 45s market". They commented also that "the epic proportions of the piece" encouraged many imitators, yet these other artists "[failed] to capture the gentleness and sympathy of the Beatles' communal feel". Walter Everett admires the melody as a "marvel of construction, contrasting wide leaps with stepwise motions, sustained tones with rapid movement, syllabic with melismatic word-setting, and tension ... with resolution". He cites Van Morrison's "Astral Weeks", Donovan's "Atlantis", the Moody Blues' "Never Comes the Day" and the Allman Brothers' "Revival" among the many songs with "mantralike repeated sections" that followed the release of "Hey Jude". In his entry for the song in his 1993 book Rock and Roll: The 100 Best Singles, Paul Williams describes it as a "song about breathing". He adds: "'Hey Jude' kicks ass like Van Gogh or Beethoven in their prime. It is, let's say, one of the wonders of this corner of creation ... It opens out like the sky at night or the idea of the existence of God."
Alan Pollack highlights the song as "such a good illustration of two compositional lessons – how to fill a large canvas with simple means, and how to use diverse elements such as harmony, bassline, and orchestration to articulate form and contrast." Pollack says that the long coda provides "an astonishingly transcendental effect", while AllMusic's Richie Unterberger similarly opines: "What could have very easily been boring is instead hypnotic because McCartney varies the vocal with some of the greatest nonsense scatting ever heard in rock, ranging from mantra-like chants to soulful lines to James Brown power screams." In his book Revolution in the Head, Ian MacDonald wrote that the "pseudo-soul shrieking in the fade-out may be a blemish" but he praised the song as "a pop/rock hybrid drawing on the best of both idioms". MacDonald concluded: "'Hey Jude' strikes a universal note, touching on an archetypal moment in male sexual psychology with a gentle wisdom one might properly call inspired." Lennon said the song was "one of [McCartney's] masterpieces".
Commercial performance
The single was a highly successful debut for Apple Records, a result that contrasted with the public embarrassment the band faced after the recent closure of their short-lived retail venture, Apple Boutique. In the description of music journalist Paul Du Noyer, the song's "monumental quality ... amazed the public in 1968"; in addition, the release silenced detractors in the British mainstream press who had relished the opportunity to criticise the band for their December 1967 television special, Magical Mystery Tour, and their trip to Rishikesh in early 1968. In the US, the single similarly brought an end to speculation that the Beatles' popularity might be diminishing, after "Lady Madonna" had peaked at number 4.
"Hey Jude" reached the top of Britain's Record Retailer chart (subsequently adopted as the UK Singles Chart) in September 1968. It lasted two weeks on top before being replaced by Hopkin's "Those Were the Days", which McCartney helped promote. "Hey Jude" was certified gold by the Recording Industry Association of America (RIAA) on 13 September; that same week, NME reported that two million copies of the single had been sold. The song entered the Billboard Hot 100 in the US on 14 September, beginning a nineteen-week chart run there. It reached number one on 28 September and held that position for nine weeks, for three of which "Those Were the Days" held the number-two spot. This was the longest run at number one for a single in the US until 1977. The song was the 16th number-one hit there for the Beatles. Billboard ranked it as the number-one song for 1968. In Australia, "Hey Jude" was number one for 13 weeks, which remained a record there until Abba's "Fernando" in 1976. It also topped the charts in Belgium, Brazil, Canada, Denmark, France, Ireland, Malaysia, the Netherlands, New Zealand, Norway, the Philippines, Singapore, Spain, Sweden, Switzerland and West Germany.
On 30 November 1968, NME reported that sales had reached nearly six million copies worldwide. By 1999, "Hey Jude" had sold an estimated eight million copies worldwide. That year, it was certified 4x platinum by the RIAA, representing four million units shipped in the US. As of December 2018, "Hey Jude" was the 54th-best-selling single of all time in the UK – one of six Beatles songs included on the top sales rankings published by the Official Charts Company.
Awards and accolades
"Hey Jude" was nominated for the Grammy Awards of 1969 in the categories of Record of the Year, Song of the Year and Best Pop Performance by a Duo or Group with Vocal, but failed to win any of them. In the 1968 NME Readers' Poll, "Hey Jude" was named the best single of the year, and the song also won the 1968 Ivor Novello Award for "A-Side With the Highest Sales". "Hey Jude" was inducted into the National Academy of Recording Arts and Sciences Grammy Hall of Fame in 2001 and it is one of the Rock and Roll Hall of Fame's "500 Songs That Shaped Rock & Roll".
In 2004, Rolling Stone ranked "Hey Jude" at number eight on the "500 Greatest Songs of All Time", making it the highest-placed Beatles song on the list; it dropped to number 89 in the 2021 revised list. Among its many appearances in other best-song-of-all-time lists, VH1 placed it ninth in 2000 and Mojo ranked it at number 29 in the same year, having placed the song seventh in a 1997 list of "The 100 Greatest Singles of All Time". In 1976, the NME ranked it 38th on the magazine's "Top 100 Singles of All Time", and the track appeared at number 77 on the same publication's "The 500 Greatest Songs of All Time" in 2014. In January 2001, "Hey Jude" came in third on Channel 4's list of the "100 Greatest Singles". The Amusement & Music Operators Association ranks "Hey Jude" as the 11th-best jukebox single of all time. In 2008, the song appeared in eighth place on Billboards "All Time Hot 100 Songs".
In July 2006, Mojo placed "Hey Jude" at number 12 on its list of "The 101 Greatest Beatles Songs". On a similar list compiled four years later, Rolling Stone ranked the song at number seven. In 2015, the ITV program The Nation's Favourite Beatles Number One ranked "Hey Jude" in first place. In 2018, the music staff of Time Out London ranked it at number 49 on their list of the best Beatles songs. Writing in the magazine, Nick Levine said: "Don't allow yourself to overlook this song because of its sheer ubiquity ... 'Hey Jude' is a huge-hearted, super-emotional epic that climaxes with one of pop's most legendary hooks."
Auctioned lyrics and memorabilia
In his 1996 article about the single's release, for Mojo, Paul Du Noyer said that the writing of "Hey Jude" had become "one of the best-known stories in Beatles folklore". In a 2005 interview, Ono said that for McCartney and for Julian and Cynthia Lennon, the scenario was akin to a drama, in that "Each person has something to be totally miserable about, because of the way they were put into this play. I have incredible sympathy for each of them." Du Noyer quoted Cynthia Lennon as saying of "Hey Jude", "it always bring tears to my eyes, that song."
Julian discovered that "Hey Jude" had been written for him almost 20 years after the fact. He recalled of his and McCartney's relationship: "Paul and I used to hang about quite a bit – more than Dad and I did. We had a great friendship going and there seems to be far more pictures of me and Paul playing together at that age than there are pictures of me and my dad." In 1996, Julian paid £25,000($33,958.25) for the recording notes to "Hey Jude" at an auction. He spent a further £35,000($47,543.65) at the auction, buying John Lennon memorabilia. John Cousins, Julian Lennon's manager, stated at the time: "He has a few photographs of his father, but not very much else. He is collecting for personal reasons; these are family heirlooms if you like."
In 2002, the original handwritten lyrics for the song were nearly auctioned off at Christie's in London. The sheet of notepaper with the scrawled lyrics had been expected to fetch up to £80,000($108,671.20) at the auction, which was scheduled for 30 April 2002. McCartney went to court to stop the auction, claiming the paper had disappeared from his West London home. Richard Morgan, representing Christie's, said McCartney had provided no evidence that he had ever owned the piece of paper on which the lyrics were written. The courts decided in McCartney's favour and prohibited the sale of the lyrics. They had been sent to Christie's for auction by Frenchman Florrent Tessier, who said he purchased the piece of paper at a street market stall in London for £10($13.58) in the early 1970s. In the original catalogue for the auction, Julian Lennon had written, "It's very strange to think that someone has written a song about you. It still touches me."
Along with "Yesterday", "Hey Jude" was one of the songs that McCartney has highlighted when attempting to have some of the official Beatles songwriting credits changed to McCartney–Lennon. McCartney applied the revised credit to this and 18 other Lennon–McCartney songs on his 2002 live album Back in the U.S., attracting criticism from Ono, as Lennon's widow, and from Starr, the only other surviving member of the Beatles.
Cover versions and McCartney live performances
In 1968, R&B singer Wilson Pickett released a cover recorded at Muscle Shoals Sound Studio, with a guitar part played by a young Duane Allman, who recommended the song to Pickett. Eric Clapton commented, "I remember hearing [it] and calling either Ahmet Ertegun or Tom Dowd and saying, 'Who's that guitar player?' ... To this day, I've never heard better rock guitar playing on an R&B record. It's the best." Session musician Jimmy Johnson, who played on the recording, said that Allman's solo "created Southern rock". Pickett's version reached number 23 on the Hot 100 and 13 on the Billboard R&B chart.
"Hey Jude" was one of the few Beatles songs that Elvis Presley covered, when he rehearsed the track at his 1969 Memphis sessions with producer Chips Moman, a recording that appeared on the 1972 album Elvis Now. A medley of "Yesterday" and "Hey Jude" was included on the 1999 reissue of Presley's 1970 live album On Stage. Katy Perry performed "Hey Jude" as part of the 2012 MusiCares Person of the Year concert honouring McCartney.
McCartney played "Hey Jude" throughout his 1989–90 world tour, his first tour since Lennon's murder in 1980. McCartney had considered including it as the closing song on his band Wings' 1975 tours, but decided that "it just didn't feel right." He has continued to feature the song in his concerts, leading the audience in organised singalongs whereby different segments of the crowd – such as those in a certain section of the venue, then only men followed by only the women – chant the "Na-na-na na" refrain.
McCartney performed "Hey Jude" in the White House East Room as part of a concert honoring him with the Library of Congress Gershwin Prize for Popular Song in June 2010.
McCartney also sang the song in the closing moments of the opening ceremony of the 2012 Summer Olympics hosted in London. On 4 August 2012, McCartney led the crowd in a rendition of "Hey Jude" while watching cycling at the velodrome.
Personnel
According to Ian MacDonald and Mark Lewisohn:
The Beatles
Paul McCartney– lead vocal, piano, bass guitar, handclaps
John Lennon– backing vocal, acoustic guitar, handclaps
George Harrison– backing vocal, electric guitar, handclaps
Ringo Starr– backing vocal, drums, tambourine, handclaps
Additional musicians
Uncredited 36-piece orchestra– 10 violins, three violas, three cellos, two double basses, two flutes, two clarinets, one bass clarinet, one bassoon, one contrabassoon, four trumpets, two horns, four trombones, and one percussion instrument; 35 of these musicians on additional backing vocals and handclaps
Charts
Weekly charts
Year-end charts
All-time charts
Certifications and sales
See also
Billboard Year-End Hot 100 singles of 1968
List of number-one singles in Australia during the 1960s
List of Top 25 singles for 1968 in Australia
List of Billboard Hot 100 number-one singles of 1968
List of Cash Box Top 100 number-one singles of 1968
List of number-one singles of 1968 (Canada)
List of Dutch Top 40 number-one singles of 1968
List of number-one hits of 1968 (Germany)
List of number-one singles of 1968 (Ireland)
List of number-one singles in 1968 (New Zealand)
List of number-one songs in Norway
List of number-one singles of 1968 (Spain)
List of number-one singles from 1968 to 1979 (Switzerland)
List of UK charts and number-one singles (1952–1969)
List of best-selling singles of the 1960s in the United Kingdom
"The Official BBC Children in Need Medley"
Notes
References
Sources
External links
Full lyrics for the song at the Beatles' official website
"David Frost Meets The Beatles" at Mojo4music.com
1968 songs
1968 singles
The Beatles songs
Apple Records singles
Songs written by Lennon–McCartney
Song recordings produced by George Martin
Songs published by Northern Songs
Music videos directed by Michael Lindsay-Hogg
Billboard Hot 100 number-one singles
Cashbox number-one singles
Dutch Top 40 number-one singles
Single Top 100 number-one singles
Irish Singles Chart number-one singles
Number-one singles in Australia
Number-one singles in Austria
Number-one singles in Germany
Number-one singles in New Zealand
Number-one singles in Norway
Number-one singles in Spain
Number-one singles in Switzerland
RPM Top Singles number-one singles
UK Singles Chart number-one singles
Ultratop 50 Singles (Flanders) number-one singles
Grammy Hall of Fame Award recipients
British pop rock songs
Pop ballads
Rock ballads
1960s ballads
Wilson Pickett songs
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"Good Thing(s), The Good Thing(s) or A Good Thing may refer to:\n\nAlbums \n A Good Thing (album), by Allen Mezquida, 1996\n Good Thing (Rebecka Törnqvist album), 1995\n Good Thing (Leon Bridges album), 2018\n Good Things (Aloe Blacc album), 2010\n Good Things (Dan + Shay album), 2021\n Good Things (Looptroop Rockers album), 2008\n Good Things, a 2000 album by Toni Lynn Washington\n The Good Things, a 2008 album by Jill Phillips\n\nSongs \n \"Good Thing\" (Eternal song), 1995\n \"Good Thing\" (Fine Young Cannibals song), 1988\n \"Good Thing\" (Rebecka Törnqvist song), 1995\n \"Good Thing\" (Sage the Gemini song), 2015\n \"Good Thing\" (Zedd and Kehlani song), 2019\n \"Good Thing\", by IOYOU, a predecessor of Westlife\n \"Good Thing\", by The Jesus Lizard from Head\n \"Good Thing\", by Lynyrd Skynyrd from Lynyrd Skynyrd 1991\n \"Good Thing\", by Paul Revere & The Raiders from The Spirit of '67\n \"Good Thing\", by Reel Big Fish from Cheer Up!\n \"Good Thing\", by Rosie Ribbons\n \"Good Thing\", by Sam Smith from In the Lonely Hour\n \"Good Thing\", by The Woodentops from Giant (The Woodentops album)\n \"Good Thing\", by Jolin Tsai from Magic\n \"Good Thing\", by Zebrahead\n \"Good Things\", by BoDeans from Black and White\n \"Good Things\", by Grand Funk Railroad from Born to Die\n \"Good Things\", by Rich Boy from the self-titled album\n \"Good Things\", by Sascha Schmitz from Open Water\n \"The Good Thing\", by Talking Heads from More Songs About Buildings and Food\n \"The Good Things\", by Cherry Poppin' Daddies from Susquehanna\n \"A Good Thing\", a 2005 song by Saint Etienne\n\"A Good Thing\", song by Buster Jones, 1969\n\"A Good Thing\", song by Charles Mann, member of the Louisiana Music Hall of Fame\t \n\"A Good Thing\", song by The Sneetches, 1993\n\nOther uses \n The Good Things (film), a 2001 American short\n Good Things, a 1971 cookbook by Jane Grigson\nGood Things (Australian music festival), a music festival held in Australia\n\nSee also \n All Good Things (disambiguation)\n Good Thang (disambiguation)",
"We Are Merely Filters is the second album by British band Buck Brothers.\n\nTwo singles were released from the album: \"When I Look At You (All I Think About Is Sex)\" and \"You're So Good, Good, Good You're Great\".\n\nIt was released digitally on 5 April 2010 and physically in the UK on 28 June 2010. Later that year, Detroit label Static Records released the album stateside.\n\nTrack listing \n\"All I Want To Do\"\n\"Are You In?\"\n\"When I Look At You (All I Think About Is Sex)\"\n\"All The Things\"\n\"Heartfelt By Numbers\"\n\"No More Yesterdays\"\n\"She's Not Wearing Any\"\n\"You're So Good, Good, Good You're Great\"\n\"Remission\"\n\"Pop Muzik\"\n\"Deeply Shallow\"\n\nExternal links \nOfficial site\nOfficial blog\n\n2010 albums"
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"Seattle Slew",
"Retirement and legacy"
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C_e230c8ce583940a99dd655e7e571b2d3_0
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When did he retire?
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When did Seattle Slew retire?
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Seattle Slew
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Seattle Slew stood at stud at Spendthrift Farm in Lexington for seven years, before moving to Three Chimneys Farm in Midway in 1985. He was the leading sire of 1984, when his son Swale (who died later that year) won the Kentucky Derby and Belmont Stakes. His other progeny include the talented, ill-fated 1982 champion two-year-old filly, Landaluce, Slew o' Gold (winner of the 1983 Eclipse Award for Outstanding Three-Year-Old Male Horse and the 1984 Eclipse Award for Outstanding Older Male Horse), 1992 Horse of the Year A.P. Indy and the 2000 champion three-year-old filly Surfside. He is part of a unique three generation sequence of Belmont Stakes Winners: Seattle Slew (1977) - A.P. Indy (1992) - Rags to Riches (2004). The primary conduit for Seattle Slew's continuation of his male line has been through A.P. Indy. A.P. Indy has done well at stud in Kentucky, siring (among others) the 2003 Horse of the Year, Mineshaft. One of Seattle Slew's most successful grandsons is the California champion Lava Man (sired by Slew City Slew). In 2006, Lava Man became the first horse to win the Santa Anita Handicap, Hollywood Gold Cup and Pacific Classic Stakes in the same year. Seattle Slew was also a leading broodmare sire, his daughters producing (among others) Cigar (leading North American money-earner of his day). Races in honor of his dam, My Charmer, include the My Charmer Handicap held at Florida's Calder Race Course annually and the My Charmer Stakes held at Kentucky's Turfway Park. Rags to Riches, a granddaughter, won the 2007 Belmont Stakes - the third filly to win the race, after Ruthless in 1867 and Tanya in 1905. The victory earned jockey John Velazquez and trainer Todd Pletcher their first wins in any Triple Crown race. Rags To Riches was the 22nd filly to run in the Belmont. In 2002, ESPN telecast a "SportsCentury" on Seattle Slew. In 2014, Seattle Slew's great-great grandson, California Chrome, won the Kentucky Derby and the Preakness. California Chrome was the second Kentucky Derby winner in a row who was a sire-line descendant of Seattle Slew, following Orb in 2013. California Chrome's bid for the Triple Crown was defeated by another great-grandson of Seattle Slew, Tonalist, by leading sire Tapit. Tapit also sired the winners of the 2016 and 2017 Belmont Stakes, Creator and Tapwrit respectively. 25 years to the day after he won the Kentucky Derby, Seattle Slew died in his sleep at age 28. He was buried whole, the highest honor for a winning race horse, in the courtyard at Hill 'N' Dale Farm near Lexington, Kentucky, with his favorite blanket and a bag of peppermints which he liked to eat. Three Chimneys Farm erected a statue of Seattle Slew near the stallion barn in his honor. Since fellow Triple Crown winner and rival Affirmed had died the year before, he was the sole living Triple Crown winner. At the horse's death, there were no living Triple Crown winners for the first time since Sir Barton won the first Triple Crown in 1919. This phenomenon continued until American Pharoah's Triple Crown in 2015. CANNOTANSWER
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25 years to the day after he won the Kentucky Derby, Seattle Slew died in his sleep at age 28.
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Seattle Slew (February 15, 1974 – May 7, 2002) was a champion American Thoroughbred racehorse who became the tenth winner of the American Triple Crown (1977). He is one of only two horses to have won the Triple Crown while being undefeated in any previous race; the second was Justify who won the Triple Crown in 2018 and is descended from Seattle Slew. Seattle Slew was the 1977 Horse of the Year and a champion at ages two, three, and four. In the Blood-Horse magazine List of the Top 100 U.S. Racehorses of the 20th Century Seattle Slew was ranked ninth.
Joe Hirsch of the Daily Racing Form wrote of Seattle Slew's three-year-old campaign: "Every time he ran he was an odds-on favorite, and the response to his presence on the racetrack, either for a morning workout or a major race, was electric. 'Slewmania' was a virulent and widespread condition."
Seattle Slew later became an outstanding sire and broodmare sire, leading the North American sire list in 1984 when his son Swale won the Kentucky Derby and Belmont Stakes. Another son, A.P. Indy, won the Belmont Stakes and continued the sire line through descendants such as Mineshaft, Tapit, and California Chrome.
Background
Seattle Slew was a dark bay horse with a small white patch of hair by his left rear hoof. He was bred by Ben S. Castleman, a Kentucky racing commissioner, and was foaled at White Horse Acres near Lexington, Kentucky. Seattle Slew was the first foal out of My Charmer, a stakes-winning daughter of the otherwise obscure sire Poker. My Charmer went on to produce the 2000 Guineas winner Lomond and Seattle Dancer, and several of her daughters became outstanding producers. My Charmer descends from champion and noted “blue hen” Myrtlewood. Castleman originally intended to breed My Charmer to Jacinto but that stallion's book was full so Seth Hancock of Claiborne Farm recommended the mare be bred instead to Bold Reasoning, a first-crop sire who had won the Jersey Derby and Withers Stakes in 1971. Bold Reasoning was a grand-son of Bold Ruler, whose descendants, including Secretariat, dominated the Kentucky Derby in the 1970s.
Seattle Slew was not considered particularly attractive as a foal, leading some to say he looked like a mule. He was so awkward that his first nickname was Baby Huey. As he matured though, he developed a graceful front-running style with an acceleration that was compared to "a falcon in a dive." At maturity, he stood high at the withers with strong hind legs and a powerful shoulder. However, his right forefoot was noticeably turned out.
Seattle Slew was purchased for just $17,500 (equivalent to $ in ) at the 1975 Fasig-Tipton yearling auction. His new owners, later known as "the Slew Crew", were Karen and Mickey Taylor and Jim and Sally Hill. Horse owners since the early 1970s, Karen Taylor was a former flight attendant, and her husband, Mickey Taylor, was a lumberman. They lived in White Swan, Washington. Jim Hill, a veterinarian, picked out Seattle Slew at the sale, though the original budget was only $12,000. Karen Taylor, liking the look of the colt, urged her husband to go higher. They named the colt for the city of Seattle and the sloughs which loggers once used to transport heavy logs. Karen felt that the pronunciation of slough — a slow-moving channel of the Pacific Northwest — would be too hard for people to remember, so the spelling was changed to Slew. A later co-owner was Glenn Rasmussen, the accountant for the equine partnerships.
Seattle Slew's owners sent the colt to Billy Turner, a friend and former steeplechase rider who had trained horses seasonally in Maryland since the early 1960s. Based at Belmont Park in the mid-1970s, Turner accepted Seattle Slew and another Taylor-Hill purchase and sent them to Andor Farm in Monkton, where his wife at the time, Paula, taught yearlings to be ridden.
Seattle Slew was described as "intelligent, dominant and determined." "He was very easygoing," Turner said. "He liked people but he wasn't lovey dovey. He didn't like people petting him. He was the boss hoss. He would stand back and just look at you. He would let you do whatever you wanted him to do, but only if he wanted to do it."
Racing career
1976: two-year-old season
Seattle Slew's debut was delayed by his initial awkwardness, but he started to attract attention over the course of the summer at Saratoga with some fast workouts. Taylor later recalled that the colt had been timed in a brilliant time of 33 seconds for three-eighths of a mile, but the clocker instead recorded the time as 36 seconds because he felt people wouldn't believe the right figure. Slew was set to make his first start at the end of August but injured himself in his stall. He finally made his first start in a six-furlong maiden race on September 20, 1976, the fifth race at Belmont Park. The big, nearly black colt was bet down to the 5–2 favorite. He gave the public its first look at what was later called his "war dance" (his habit of tiptoeing on the track before his races) and won by five lengths. He followed up in seven-furlong allowance race on October 5, 1976, winning by lengths.
On October 16, Taylor stepped the colt up in class to enter the Grade I Champagne Stakes, then the most important race for two-year-olds in the United States. His biggest rival was For the Moment, who had won four straight races including the Belmont Futurity and was a full-brother to champion Honest Pleasure. Nonetheless, Seattle Slew went off as the almost even-money favorite. Jockey Jean Cruguet sent him straight to the lead and opened up a lead down the backstretch. None of the other riders chose to challenge him, perhaps believing the colt would tire down the stretch. Instead Seattle Slew continued to draw away, eventually winning by lengths in a time of 1:34 for one mile, then a stakes record.
Despite starting just three times, Seattle Slew was named Champion Two-Year-Old of 1976.
1977: three-year-old season
Turner scheduled three races for Seattle Slew leading up to the Kentucky Derby, which was then considered to be a light campaign. Turner felt that the main threat to Seattle Slew was his health, because the horse ran so fast and hard every time. Hill later said that Turner used the prep races as workouts and did as little as possible in between. Turner scheduled only 19 breezes for Seattle Slew before and during his Triple Crown campaign, instead trying to get the colt to relax.
Seattle Slew's first start came as a three-year-old in an allowance race on March 9, 1977 at Hialeah Park Race Track. Going off at odds of 1-10, he dueled with White Rammer for the early lead while completing the first quarter-mile in a swift 22 seconds. He kept up the pace, completing the half-mile in 44 seconds and six furlongs in 1:08 flat (which would have been a new track record). Eased in the final sixteenth of a mile, he still set a seven-furlong track record of 1:20 in winning by nine lengths. Despite the ease of the win, Turner was concerned, fearing the colt was using too much energy early in his races to withstand the challenge of the longer races to come.
On March 26, Seattle Slew entered the Flamingo Stakes, where he went off at odds of 1-5. He set his own pace and opened a large lead moving into the final turn. He was eased down the stretch but still won by four lengths in a time of 1:47 for miles – the third-fastest time in the stakes' 51-year history.
He then shipped north to Aqueduct Racetrack in New York, where he became the subject of intense media scrutiny. His owners considered entering him in the Gotham Stakes on April 9 but Turner was against it because heavy rains had rendered the main track unusable, meaning the colt had not been able to properly work out. Instead, Seattle Slew made his third start of the year on April 23 in the Wood Memorial Stakes. Going off as the 1-10 favorite, he went to the early lead, challenged by Fratello Ed. Cruguet got the colt to relax and they set sensible fractions, then coasted to a length win. The time of 1:49 was considered unimpressive, but his connections were pleased by the horse's demeanor. "He doesn't have to run the way he has before," said Cruguet. "He was never really pressed."
Kentucky Derby
The "Slew Crew" then relocated to Churchill Downs where the Taylors set up a camper opposite the colt's stall in Barn 42, which traditionally houses the favorite for the Kentucky Derby. With Mickey Taylor's father acting as chief bodyguard for the colt, the connections dealt with a constant stream of visitors. Showing his growing maturity, Seattle Slew remained relaxed throughout the week leading up to the race. His training did not go entirely to expectations however when he posted an uncharacteristically slow workout the Sunday before the race. Turner planned to sharpen the colt with a five-furlong breeze on the Thursday before the race but the track came up muddy. Seattle Slew's final workout was a three-furlong breeze in 34 seconds the morning before the Derby was held.
The 1977 Kentucky Derby was held on May 7 before a crowd of 124,028. The track was rated as fast despite showers earlier in the day. Seattle Slew was the heavy favorite at odds of 1-2 but still faced a large field as many felt the colt would be vulnerable at the Derby's distance of miles. The second choice was Run Dusty Run, who had been the second-ranked two-year-old and had run second in several major Derby prep races. For the Moment was also given a strong chance after winning the Blue Grass Stakes.
In reaction to the crowd noise, Seattle Slew washed out in the paddock and again during the post parade. Cruguet did little to warm up the colt, instead taking him away from the crowd to relax. He had drawn post position three, and had to wait in the starting gate for the rest of the field to load. Slew reacted slowly at the break then swerved nearly sideways and found himself trapped near the back of the field. He reacted by charging through the field, bumping several other horses who were in his way. After two furlongs, he had worked his way into second place just behind For the Moment. The two colts then dueled around the first turn before Cruguet got Seattle Slew to relax down the backstretch, under a tight restraint, allowing For the Moment to open up a lead of a length. For the Moment completed the first three-quarters of a mile in 1:10, then was joined again by Seattle Slew as they moved around the final turn. At the top of the stretch, Cruguet went to the whip and Seattle Slew pulled away by 4 lengths, then shut down in the final eighth of a mile to win by lengths over Run Dusty Run.
The colt still had his detractors. The final time of 2:02 was considered slow, particularly as the final quarter mile was run in 26 seconds. Turner pointed to the interruptions in the colt's training. "Because of the circumstances, he was somewhat undertrained. You knew it, and I knew it," he said.
Seattle Slew was visibly upset after the race. "It was the only time I was scared of him," said his groom, John Polston. "He was so high-strung that night, he was evil, just evil. I couldn't believe how wound tight he was. It was like he hadn't even been in a race. I had to take him from the hotwalker and he ran over me a couple of times. I'd never seen him like that before."
Preakness Stakes
Two weeks later, in the 1-mile Preakness Stakes, Seattle Slew faced a new rival in multiple-stakes-winner Cormorant. Many handicappers believed a predicted speed duel with Cormorant would jeopardize the Derby winner's chances; Andrew Beyer picked Cormorant to win in his Washington Post column. Other highly rated contenders were J. O. Tobin, the English champion two-year-old colt of 1976, and Iron Constitution, who had won the Withers Stakes. For the first time, Turner chose to have the colt given butazolidin before the race, fearing that Seattle Slew might suffer a minor injury in his final workout.
Seattle Slew broke from post position 8 with Cormorant to his inside on a track with a definite bias for runners on the rail. As expected, the two battled for the early lead, sprinting nearly ten lengths clear of the rest of the field while setting fast fractions of 22 seconds for the first quarter-mile and 45 for the first half. Around the far turn, Seattle Slew started to open up a lead while completing the mile in 1:34. Cruguet then eased up on the colt down the stretch, allowing Iron Constitution to close to within 1 lengths. The final time of 1:54 was one of the fastest in the history of the race, especially notable as the track was considered to be somewhat dead.
Belmont Stakes
Seattle Slew trained well during the three weeks between the Preakness and Belmont Stakes, showing a new level of determination according to Turner. During one of his final workouts, Slew was pulled up early by his exercise rider. "He was afraid he could not hold him," said Turner. "I had warned the outriders, too. This horse might have gone around two or three times."
The 1977 Belmont Stakes was run on June 11 on a muddy track before a crowd of 70,229, with eight rivals facing Seattle Slew. Turner arrived late at the saddling enclosure, due in part to the number of cars parked on the backstretch, as well as his desire to limit the colt's exposure to the enthusiastic crowd. "Turner was fined," said Sally Hill later. "We paid the fine. They weren't going to start the race without him."
Going off at odds of 2-5, Seattle Slew went to the early lead. Though pressed at first by Spirit Level and then Run Dusty Run, he was able to relax, completing the opening mile in a leisurely 1:38. Spirit Level and Run Dusty Run closed down the gap around the far turn, and then Sanhedrin made a strong run to move into second place, raising concerns about Slew's ability to complete the distance. Seattle Slew responded to the challenge in the final quarter-mile when he opened up daylight between himself and the rest of the field. Down the stretch, Cruguet tapped him with the whip a few times to keep the colt's mind on the race and Seattle Slew won comfortably by four lengths over Run Dusty Run. He became the tenth American Triple Crown winner and (with his nine-for-nine record) was the first Triple Crown winner to finish the series undefeated.
Cruguet stood up in the stirrups and raised his right hand triumphantly some 20 yards before the finish line, leading some to criticize him for the "emotional flourish". Cruguet described his feelings as "happiness, just happiness" before hurrying off to ride in the next race. Turner was harder hit. "I ducked into a stall and broke down and cried," he said. "It was such a relief, because the pressure was off."
Aftermath
After the Triple Crown, Seattle Slew was sent to Hollywood Park Racetrack, which increased the purse for the Swaps Stakes to over $300,000 to lure him to run on July 3. In the Swaps, Seattle Slew was unable to get to the front as jockey Bill Shoemaker sent J.O. Tobin to the lead. J.O. Tobin set fast early fractions for a -mile race – 22 for the first quarter-mile, 45 for the half, 1:09 for six furlongs and 1:33 for the mile. Seattle Slew, boxed in for much of the race with Text to his side, eventually broke free but tired badly in the stretch. He finished fourth, 16 lengths behind J.O. Tobin, who won in a stakes record of 1:58, just two-fifths off the world record for the distance at that time.
The race was the cause of much controversy. Before shipping to California, Seattle Slew had been sedated repeatedly to be used in a Xerox advertising campaign for a new X-ray machine, then was sedated again during the flight. Turner believed this contributed to Seattle Slew's dull effort. Turner also said that he had disagreed with the decision to ship to California at all, feeling the colt needed more time to recover from the Triple Crown. The owners said that Turner had not raised objections prior to the race, and further that Turner's drinking problems were putting the horse at risk. At the end of the year, Turner was fired and replaced by Douglas Peterson.
Meanwhile, Seattle Slew was given time off to recover, then resumed training in August for a fall campaign. However, he was sidelined by a suspension to Hill, whose ownership share had been previously undisclosed. Despite the disappointing end to the season, Seattle Slew was the easy winner in the voting for champion three-year-old at the annual Eclipse Awards. The voting for American Horse of the Year honors was closer, with Seattle Slew prevailing over Forego by 105 votes to 84.
1978
In early 1978, Seattle Slew was stabled at Hialeah and was expected to make three or four starts in Florida, followed by a full campaign in New York's major stakes races. He was scheduled to make the first start of his four-year-old campaign on January 16, 1978 in the Tallahassee Handicap. However, he was scratched from the race on January 14 when he lost his appetite and was found to have a fever of 102. His condition then went quickly downhill, marked by weakness, dehydration and a sharp decrease in his white blood cell count. It was later revealed that his jugular vein had collapsed when a pre-race injection of butazolidin missed the vein.
While Seattle Slew slowly recovered, his owners contemplated retiring him to stud. Instead, they kept him in training for 1978 while syndicating him for a then-record $12 million. The Taylor and Hill families retained 50% of the shares while Brownwell Combs of Spendthrift Farm headed the syndication group.
Seattle Slew eventually returned to training and was shipped north to Aqueduct, which held "Seattle Slew day" on April 29. A crowd of 25,931 cheered while Seattle Slew was led around the paddock and then taken on track for a six-furlong workout, completed handily in 1:10. On May 14, Seattle Slew returned to racing in a seven-furlong allowance race. Over an extremely muddy track, he settled in second place behind Gallant Bob for the first quarter-mile, then started to open up on the field, eventually winning by lengths. Despite the adverse track conditions and never being urged by Cruguet, his time was a "brisk" 1:22.
Seattle Slew was being pointed to the Metropolitan Handicap at the end of May but suffered another setback when a filling in his left hind leg was discovered. The problem was thought to be minor, but it was not until August that he made his next start. This was in a seven-furlong allowance race at Saratoga Race Course, which he won by six lengths in 1:21 over a sloppy track.
In preparation for his fall campaign, Seattle Slew was sent to the Meadowlands on September 5 for a night race, the Paterson Handicap at a distance of miles. He went off as the 1-5 favorite despite being assigned 128 pounds. His main rival was Dr. Patches, who had an excellent record at the Meadowlands and was carrying only 114 pounds. Seattle Slew went straight to the lead and set fast early fractions. Turning for home though, Dr. Patches made his move and slowly drew past. Seattle Slew tried to fight back but lost by a neck in a major upset. Jean Cruguet lost the mount after the race, after expressing doubt if the horse had been sufficiently trained.
Marlboro Cup
The 1978 Marlboro Cup, run on September 16, was the first time that two Triple Crown winners raced each other. Affirmed had won the Triple Crown in a thrilling showdown with Alydar, and had won all but one of his starts that year, that loss coming by disqualification. Taylor was not concerned by Affirmed's reputation. "We've watched every one of his races this year and watched them carefully," he said. "He's an outstanding horse, but so is Slew. Affirmed had better be ready when the Marlboro Cup comes up, because he's going to see one big, black butt in front of him."
For the only time in his career, Seattle Slew was not the favorite, going off at 2-1 compared to Affirmed at 1-2. Affirmed and Seattle Slew were both known as front-runners but Seattle Slew's new jockey Angel Cordero Jr. felt that Affirmed had benefited from setting slow early fractions in his early races. He sent Seattle Slew to the lead and completed the first quarter in an easy 24 seconds, then picked up the pace down the backstretch to complete the half-mile in 47 seconds with Affirmed two lengths behind. Rounding the final turn into the stretch, Cordero allowed Slew to swing wide. Affirmed came up on the inside, but Seattle Slew responded to beat Affirmed by three lengths, with the third-place horse a further five lengths back. He completed the distance of miles in a time of 1:45, just two-fifths of a second off the world record set by Secretariat in the 1973 Marlboro Cup.
"I knew when we were able to go to the lead that we could win it," Cordero said. "Slew is such a nice horse and I was able to relax him on the backstretch. There isn't a horse in the world that could have beaten him today."
Woodward Stakes
Two weeks later, Seattle Slew was entered in the Woodward Stakes, then held at Belmont Park over the American classic distance of miles. Affirmed skipped the race, making Exceller the main contender in a field of five. Seattle Slew coasted through the first quarter in seconds, then picked up the pace under slight pressure from Exceller, normally known for his closing kick. Turning for home, Cordero used the whip twice and Seattle Slew drew off to win by four lengths. His time of 2 minutes flat for miles was a Belmont course record for a race started on the turn. (At that time, 10 furlong races at Belmont were normally started in a chute, allowing the horses to run straight for about half the race. However, the chute was under repair in 1978). The winnings from the race made Seattle Slew the 23rd horse in racing history to earn a million dollars.
Jockey Club Gold Cup
In October, Seattle Slew and Affirmed met again in the -mile Jockey Club Gold Cup at Belmont, which was televised nationally on the CBS network. Affirmed's trainer, Laz Barrera, did not want Seattle Slew to get an easy lead and dictate the pace as he had in the Marlboro Cup, so Barrera also entered a "rabbit" (Life's Hope) in an attempt to tire Slew. Seattle Slew ran in fractions of 22 for the first quarter, 45 for the half and 1:09 for three-quarters – extremely fast early times for a long race. Life's Hope dropped back, then Affirmed also faltered, having raced too close to the pace. Affirmed's problems were compounded when his saddle slipped.
Meanwhile, Bill Shoemaker on Exceller took advantage of the fast pace. Far back early, Exceller made a strong move on the far turn and saved ground by moving inside Seattle Slew as the tiring horse bore out turning for home. Exceller took the lead at the top of the stretch, and opened a half-length lead in midstretch. Seattle Slew fought back and lost by a nose in a photo finish. This stretch run is still remembered as among the all-time best, ranking with Sunday Silence and Easy Goer's Preakness in 1989 and the battles between Affirmed and Alydar. Despite the defeat, many analysts considered this to be Seattle Slew's greatest performance. Andrew Beyer (a Seattle Slew skeptic when the horse was a three-year-old) wrote for his lead, "Exceller was the winner of yesterday's Jockey Club Gold Cup, Seattle Slew was its hero."
Stuyvesant Handicap
Seattle Slew's last race was in the Stuyvesant Handicap on November 11 at Aqueduct Racetrack. He was assigned the high weight of , conceding his rivals from 19 to 27 pounds. As the 1-10 favorite, he went to the early lead and was never challenged, winning by lengths. He completed the -mile race in 1:47, just off the track and stakes record set by Riva Ridge in 1973. Watching the race were Turner and Cruguet, who both expressed regret that they'd had to part ways with the horse. "Even now," said Cruguet, "he should be undefeated."
Seattle Slew retired with 14 wins in 17 races and earnings of $1,208,726. He was named Champion Older Horse in 1978 but lost the Horse of the Year balloting to the horse he defeated in the Marlboro Cup, Affirmed.
Statistics
An asterisk before the odds means that Seattle Slew was the post-time favorite.
Source: Daily Racing Form
Stud career
Seattle Slew stood at stud at Spendthrift Farm in Lexington for seven years, before moving to Three Chimneys Farm in Midway in 1985. He was the leading sire of 1984, when his son Swale (who died later that year) won the Kentucky Derby and Belmont Stakes. He is part of a unique three generation sequence of Belmont Stakes Winners: Seattle Slew (who won the race in 1977) sired A.P. Indy (1992) who in turn sired Rags to Riches. Rags to Riches was just the third filly to win the race, after Ruthless in 1867 and Tanya in 1905. The victory earned jockey John Velazquez and trainer Todd Pletcher their first wins in any Triple Crown race.
Seattle Slew sired 1,103 named foals, of which 537 (48.7%) were winners and 111 (10.1%) were stakes winners. Major winners by Seattle Slew include:
A.P. Indy – Belmont Stakes, Breeders' Cup Classic, 1992 Horse of the Year (USA) and champion three-year-old, Hall of Fame inductee
Adored – Santa Margarita, Delaware Handicap
Capote – Breeders' Cup Juvenile
Fleet Renee – Ashland, Mother Goose
Flute – Kentucky Oaks
Hail Atlantis – Santa Anita Oaks
Lakeway – Santa Anita Oaks, Hollywood Oaks, Mother Goose
Landaluce – Oak Leaf Stakes, Champion two-year-old filly
Life at the Top – Mother Goose
Magic of Life – Coronation Stakes
Seattle Song – Prix de la Salamandre, Washington DC International
Septieme Ciel – Prix de la Forêt
Slew City Slew – Oaklawn Handicap, Gulfstream Park Handicap
Slew o' Gold - multiple stakes winner including Jockey Club Gold Cup (twice), Woodward Stakes (twice), Marlboro Stakes, Wood Memorial. Champion three-year-old (1983) and champion older horse (1984). Hall of fame inductee
Slewpy – Young American Stakes, Meadowlands Cup
Surfside – multiple stakes winner including Frizette and Santa Anita Oaks. Champion three-year-old filly (2000)
Swale – Kentucky Derby and Belmont Stakes
Taiki Blizzard – Yasuda Kinen
Vindication – Breeders' Cup Juvenile, Champion Two-Year-Old Colt of 2002
The primary conduit for the continuation of Seattle Slew's male line has been through A.P. Indy, who was the leading sire in North America of 2003 and 2006. A.P. Indy sired the 2003 Horse of the Year, Mineshaft, Preakness Stakes winner Bernardini and Belmont Stakes winner Rags to Riches. A.P. Indy's grandsons include Tapit. the leading North American sire in 2014, 2015 and 2016. Slew City Slew was also a good sire, whose sons include California champion Lava Man. In 2006, Lava Man became the first horse to win the Santa Anita Handicap, Hollywood Gold Cup and Pacific Classic Stakes in the same year.
In 2014, Seattle Slew's great-great grandson, California Chrome, won the Kentucky Derby and the Preakness. California Chrome was the second Kentucky Derby winner in a row who was a sire-line descendant of Seattle Slew, following Orb in 2013. California Chrome's bid for the Triple Crown was defeated by another great-grandson of Seattle Slew, Tonalist, by Tapit. Tapit also sired the winners of the 2016 and 2017 Belmont Stakes, Creator and Tapwrit respectively.
Seattle Slew was also a notable broodmare sire, leading the North American list in both 1995 and 1996. His daughters produced (among others) Cigar, the leading North American money-earner of his day.
Legacy
Seattle Slew underwent spinal fusion surgery at Rood and Riddle Equine Hospital for a neurological condition in 2000, followed by a second surgery in 2002. Upon recovery from the second surgery, he was moved to Hill 'n' Dale Farm to recover: his old stall at Three Chimney's was too close to the breeding shed, and he became agitated whenever mares arrived at the farm.
On May 7, 2002, 25 years to the day after he won the Kentucky Derby, Seattle Slew died in his sleep at age 28. He was buried whole at Hill 'n' Dale, the highest honor for a winning race horse, with his favorite blanket and a bag of peppermints. Three Chimneys Farm erected a statue of Seattle Slew near the stallion barn in his honor. Since fellow Triple Crown winner and rival Affirmed had died the year before, he had been the sole living Triple Crown winner. At the horse's death, there were no living Triple Crown winners for the first time since Sir Barton won the first Triple Crown in 1919. This phenomenon continued until American Pharoah's Triple Crown in 2015.
The Taylors remained close to Seattle Slew throughout his life and were with him at the time of his death. "He had the greatest heart," said Karen Taylor. "He was a fighter to the end." John Sikura of Hill 'n' Dale commented, "To be near greatness is what everyone in this business aspires to, and it happens so rarely. He was one in a million, and showed us there is that possibility in a game of impossibilities."
Seattle Slew was inducted into the National Museum of Racing and Hall of Fame in 1981. In the BloodHorse magazine's listing of the top 100 American thoroughbreds of the twentieth century, he was ranked ninth. A British publication, A Century of Champions, ranked him fourth among North American racehorses. In 2002, ESPN telecast a "SportsCentury" on Seattle Slew.
The book Seattle Slew, by Steve Cady and Barton Silverman, was released by Penguin Books in 1977. In 2000, the Eclipse Press released another book of the same title, written by Dan Mearns as part of the Thoroughbred Legends series.
In 2015, the state of Kentucky starting issuing a license plate bearing Seattle Slew's image, based on a photograph by Tony Leonard. Proceeds benefit the Kentucky Equine Education Project Foundation (KEEP).
Pedigree
Seattle Slew was inbred 4 x 4 to the stallion Nasrullah, meaning that Nasrullah appears twice in the fourth generation of his pedigree. His dam My Charmer was inbred 4 x 4 to both War Admiral and Baby League (a daughter of the highly influential broodmare La Troienne) through the full sisters Striking and Busher.
See also
A.P. Indy
Exceller
Three Chimneys Farm
References
Further reading
External links
Seattle Slew's Official Website
Seattle Slew's Kentucky Derby page
Seattle Slew profile at the National Museum of Racing and Hall of Fame
1974 racehorse births
2002 racehorse deaths
Racehorses trained in the United States
Horse racing track record setters
Racehorses bred in Kentucky
United States Thoroughbred Racing Hall of Fame inductees
Kentucky Derby winners
Triple Crown of Thoroughbred Racing winners
Eclipse Award winners
American Thoroughbred Horse of the Year
Preakness Stakes winners
Belmont Stakes winners
United States Champion Thoroughbred Sires
American Champion Thoroughbred broodmare sires
American Grade 1 Stakes winners
Thoroughbred family 13-c
Chefs-de-Race
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"Øyvind Gjerde (born 18 March 1977) is a Norwegian former footballer who played for Molde. He has previously played for the clubs Åndalsnes, Lillestrøm and Aalesund.\n\nAfter the 2010 season, when he did not get a new contract with Molde after 7 years in the club, Gjerde announced that he would most likely retire.\n\nReferences \n\n1977 births\nLiving people\nPeople from Møre og Romsdal\nNorwegian footballers\nEliteserien players\nNorwegian First Division players\nAalesunds FK players\nLillestrøm SK players\nMolde FK players\n\nAssociation football defenders",
"Max Mnkandla is the President of the Zimbabwe Liberators' Peace Initiative. He fought for the Zimbabwe People's Revolutionary Army (ZIPRA) in the Rhodesian Bush War.\n\nHis father, Siqanywana, died in the Gukurahundi massacres of the 1980s. When Information Minister Nathan Shamuyarira defended the massacres in October 2006, Mnkandla said Shamuyarira's comments show he is \"not only suffering from 1880s hangover — the feeling that the Ndebele also did the same to the Shonas — it also shows that Shamuyarira is now old and should retire.\"\n\nReferences\n\nYear of birth missing (living people)\nLiving people\nZimbabwe People's Revolutionary Army personnel\nZimbabwean politicians"
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"When did he retire?",
"25 years to the day after he won the Kentucky Derby, Seattle Slew died in his sleep at age 28."
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C_e230c8ce583940a99dd655e7e571b2d3_0
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What was the reaction to his death?
| 2 |
What was the reaction to Seattle Slew's death?
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Seattle Slew
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Seattle Slew stood at stud at Spendthrift Farm in Lexington for seven years, before moving to Three Chimneys Farm in Midway in 1985. He was the leading sire of 1984, when his son Swale (who died later that year) won the Kentucky Derby and Belmont Stakes. His other progeny include the talented, ill-fated 1982 champion two-year-old filly, Landaluce, Slew o' Gold (winner of the 1983 Eclipse Award for Outstanding Three-Year-Old Male Horse and the 1984 Eclipse Award for Outstanding Older Male Horse), 1992 Horse of the Year A.P. Indy and the 2000 champion three-year-old filly Surfside. He is part of a unique three generation sequence of Belmont Stakes Winners: Seattle Slew (1977) - A.P. Indy (1992) - Rags to Riches (2004). The primary conduit for Seattle Slew's continuation of his male line has been through A.P. Indy. A.P. Indy has done well at stud in Kentucky, siring (among others) the 2003 Horse of the Year, Mineshaft. One of Seattle Slew's most successful grandsons is the California champion Lava Man (sired by Slew City Slew). In 2006, Lava Man became the first horse to win the Santa Anita Handicap, Hollywood Gold Cup and Pacific Classic Stakes in the same year. Seattle Slew was also a leading broodmare sire, his daughters producing (among others) Cigar (leading North American money-earner of his day). Races in honor of his dam, My Charmer, include the My Charmer Handicap held at Florida's Calder Race Course annually and the My Charmer Stakes held at Kentucky's Turfway Park. Rags to Riches, a granddaughter, won the 2007 Belmont Stakes - the third filly to win the race, after Ruthless in 1867 and Tanya in 1905. The victory earned jockey John Velazquez and trainer Todd Pletcher their first wins in any Triple Crown race. Rags To Riches was the 22nd filly to run in the Belmont. In 2002, ESPN telecast a "SportsCentury" on Seattle Slew. In 2014, Seattle Slew's great-great grandson, California Chrome, won the Kentucky Derby and the Preakness. California Chrome was the second Kentucky Derby winner in a row who was a sire-line descendant of Seattle Slew, following Orb in 2013. California Chrome's bid for the Triple Crown was defeated by another great-grandson of Seattle Slew, Tonalist, by leading sire Tapit. Tapit also sired the winners of the 2016 and 2017 Belmont Stakes, Creator and Tapwrit respectively. 25 years to the day after he won the Kentucky Derby, Seattle Slew died in his sleep at age 28. He was buried whole, the highest honor for a winning race horse, in the courtyard at Hill 'N' Dale Farm near Lexington, Kentucky, with his favorite blanket and a bag of peppermints which he liked to eat. Three Chimneys Farm erected a statue of Seattle Slew near the stallion barn in his honor. Since fellow Triple Crown winner and rival Affirmed had died the year before, he was the sole living Triple Crown winner. At the horse's death, there were no living Triple Crown winners for the first time since Sir Barton won the first Triple Crown in 1919. This phenomenon continued until American Pharoah's Triple Crown in 2015. CANNOTANSWER
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He was buried whole, the highest honor for a winning race horse,
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Seattle Slew (February 15, 1974 – May 7, 2002) was a champion American Thoroughbred racehorse who became the tenth winner of the American Triple Crown (1977). He is one of only two horses to have won the Triple Crown while being undefeated in any previous race; the second was Justify who won the Triple Crown in 2018 and is descended from Seattle Slew. Seattle Slew was the 1977 Horse of the Year and a champion at ages two, three, and four. In the Blood-Horse magazine List of the Top 100 U.S. Racehorses of the 20th Century Seattle Slew was ranked ninth.
Joe Hirsch of the Daily Racing Form wrote of Seattle Slew's three-year-old campaign: "Every time he ran he was an odds-on favorite, and the response to his presence on the racetrack, either for a morning workout or a major race, was electric. 'Slewmania' was a virulent and widespread condition."
Seattle Slew later became an outstanding sire and broodmare sire, leading the North American sire list in 1984 when his son Swale won the Kentucky Derby and Belmont Stakes. Another son, A.P. Indy, won the Belmont Stakes and continued the sire line through descendants such as Mineshaft, Tapit, and California Chrome.
Background
Seattle Slew was a dark bay horse with a small white patch of hair by his left rear hoof. He was bred by Ben S. Castleman, a Kentucky racing commissioner, and was foaled at White Horse Acres near Lexington, Kentucky. Seattle Slew was the first foal out of My Charmer, a stakes-winning daughter of the otherwise obscure sire Poker. My Charmer went on to produce the 2000 Guineas winner Lomond and Seattle Dancer, and several of her daughters became outstanding producers. My Charmer descends from champion and noted “blue hen” Myrtlewood. Castleman originally intended to breed My Charmer to Jacinto but that stallion's book was full so Seth Hancock of Claiborne Farm recommended the mare be bred instead to Bold Reasoning, a first-crop sire who had won the Jersey Derby and Withers Stakes in 1971. Bold Reasoning was a grand-son of Bold Ruler, whose descendants, including Secretariat, dominated the Kentucky Derby in the 1970s.
Seattle Slew was not considered particularly attractive as a foal, leading some to say he looked like a mule. He was so awkward that his first nickname was Baby Huey. As he matured though, he developed a graceful front-running style with an acceleration that was compared to "a falcon in a dive." At maturity, he stood high at the withers with strong hind legs and a powerful shoulder. However, his right forefoot was noticeably turned out.
Seattle Slew was purchased for just $17,500 (equivalent to $ in ) at the 1975 Fasig-Tipton yearling auction. His new owners, later known as "the Slew Crew", were Karen and Mickey Taylor and Jim and Sally Hill. Horse owners since the early 1970s, Karen Taylor was a former flight attendant, and her husband, Mickey Taylor, was a lumberman. They lived in White Swan, Washington. Jim Hill, a veterinarian, picked out Seattle Slew at the sale, though the original budget was only $12,000. Karen Taylor, liking the look of the colt, urged her husband to go higher. They named the colt for the city of Seattle and the sloughs which loggers once used to transport heavy logs. Karen felt that the pronunciation of slough — a slow-moving channel of the Pacific Northwest — would be too hard for people to remember, so the spelling was changed to Slew. A later co-owner was Glenn Rasmussen, the accountant for the equine partnerships.
Seattle Slew's owners sent the colt to Billy Turner, a friend and former steeplechase rider who had trained horses seasonally in Maryland since the early 1960s. Based at Belmont Park in the mid-1970s, Turner accepted Seattle Slew and another Taylor-Hill purchase and sent them to Andor Farm in Monkton, where his wife at the time, Paula, taught yearlings to be ridden.
Seattle Slew was described as "intelligent, dominant and determined." "He was very easygoing," Turner said. "He liked people but he wasn't lovey dovey. He didn't like people petting him. He was the boss hoss. He would stand back and just look at you. He would let you do whatever you wanted him to do, but only if he wanted to do it."
Racing career
1976: two-year-old season
Seattle Slew's debut was delayed by his initial awkwardness, but he started to attract attention over the course of the summer at Saratoga with some fast workouts. Taylor later recalled that the colt had been timed in a brilliant time of 33 seconds for three-eighths of a mile, but the clocker instead recorded the time as 36 seconds because he felt people wouldn't believe the right figure. Slew was set to make his first start at the end of August but injured himself in his stall. He finally made his first start in a six-furlong maiden race on September 20, 1976, the fifth race at Belmont Park. The big, nearly black colt was bet down to the 5–2 favorite. He gave the public its first look at what was later called his "war dance" (his habit of tiptoeing on the track before his races) and won by five lengths. He followed up in seven-furlong allowance race on October 5, 1976, winning by lengths.
On October 16, Taylor stepped the colt up in class to enter the Grade I Champagne Stakes, then the most important race for two-year-olds in the United States. His biggest rival was For the Moment, who had won four straight races including the Belmont Futurity and was a full-brother to champion Honest Pleasure. Nonetheless, Seattle Slew went off as the almost even-money favorite. Jockey Jean Cruguet sent him straight to the lead and opened up a lead down the backstretch. None of the other riders chose to challenge him, perhaps believing the colt would tire down the stretch. Instead Seattle Slew continued to draw away, eventually winning by lengths in a time of 1:34 for one mile, then a stakes record.
Despite starting just three times, Seattle Slew was named Champion Two-Year-Old of 1976.
1977: three-year-old season
Turner scheduled three races for Seattle Slew leading up to the Kentucky Derby, which was then considered to be a light campaign. Turner felt that the main threat to Seattle Slew was his health, because the horse ran so fast and hard every time. Hill later said that Turner used the prep races as workouts and did as little as possible in between. Turner scheduled only 19 breezes for Seattle Slew before and during his Triple Crown campaign, instead trying to get the colt to relax.
Seattle Slew's first start came as a three-year-old in an allowance race on March 9, 1977 at Hialeah Park Race Track. Going off at odds of 1-10, he dueled with White Rammer for the early lead while completing the first quarter-mile in a swift 22 seconds. He kept up the pace, completing the half-mile in 44 seconds and six furlongs in 1:08 flat (which would have been a new track record). Eased in the final sixteenth of a mile, he still set a seven-furlong track record of 1:20 in winning by nine lengths. Despite the ease of the win, Turner was concerned, fearing the colt was using too much energy early in his races to withstand the challenge of the longer races to come.
On March 26, Seattle Slew entered the Flamingo Stakes, where he went off at odds of 1-5. He set his own pace and opened a large lead moving into the final turn. He was eased down the stretch but still won by four lengths in a time of 1:47 for miles – the third-fastest time in the stakes' 51-year history.
He then shipped north to Aqueduct Racetrack in New York, where he became the subject of intense media scrutiny. His owners considered entering him in the Gotham Stakes on April 9 but Turner was against it because heavy rains had rendered the main track unusable, meaning the colt had not been able to properly work out. Instead, Seattle Slew made his third start of the year on April 23 in the Wood Memorial Stakes. Going off as the 1-10 favorite, he went to the early lead, challenged by Fratello Ed. Cruguet got the colt to relax and they set sensible fractions, then coasted to a length win. The time of 1:49 was considered unimpressive, but his connections were pleased by the horse's demeanor. "He doesn't have to run the way he has before," said Cruguet. "He was never really pressed."
Kentucky Derby
The "Slew Crew" then relocated to Churchill Downs where the Taylors set up a camper opposite the colt's stall in Barn 42, which traditionally houses the favorite for the Kentucky Derby. With Mickey Taylor's father acting as chief bodyguard for the colt, the connections dealt with a constant stream of visitors. Showing his growing maturity, Seattle Slew remained relaxed throughout the week leading up to the race. His training did not go entirely to expectations however when he posted an uncharacteristically slow workout the Sunday before the race. Turner planned to sharpen the colt with a five-furlong breeze on the Thursday before the race but the track came up muddy. Seattle Slew's final workout was a three-furlong breeze in 34 seconds the morning before the Derby was held.
The 1977 Kentucky Derby was held on May 7 before a crowd of 124,028. The track was rated as fast despite showers earlier in the day. Seattle Slew was the heavy favorite at odds of 1-2 but still faced a large field as many felt the colt would be vulnerable at the Derby's distance of miles. The second choice was Run Dusty Run, who had been the second-ranked two-year-old and had run second in several major Derby prep races. For the Moment was also given a strong chance after winning the Blue Grass Stakes.
In reaction to the crowd noise, Seattle Slew washed out in the paddock and again during the post parade. Cruguet did little to warm up the colt, instead taking him away from the crowd to relax. He had drawn post position three, and had to wait in the starting gate for the rest of the field to load. Slew reacted slowly at the break then swerved nearly sideways and found himself trapped near the back of the field. He reacted by charging through the field, bumping several other horses who were in his way. After two furlongs, he had worked his way into second place just behind For the Moment. The two colts then dueled around the first turn before Cruguet got Seattle Slew to relax down the backstretch, under a tight restraint, allowing For the Moment to open up a lead of a length. For the Moment completed the first three-quarters of a mile in 1:10, then was joined again by Seattle Slew as they moved around the final turn. At the top of the stretch, Cruguet went to the whip and Seattle Slew pulled away by 4 lengths, then shut down in the final eighth of a mile to win by lengths over Run Dusty Run.
The colt still had his detractors. The final time of 2:02 was considered slow, particularly as the final quarter mile was run in 26 seconds. Turner pointed to the interruptions in the colt's training. "Because of the circumstances, he was somewhat undertrained. You knew it, and I knew it," he said.
Seattle Slew was visibly upset after the race. "It was the only time I was scared of him," said his groom, John Polston. "He was so high-strung that night, he was evil, just evil. I couldn't believe how wound tight he was. It was like he hadn't even been in a race. I had to take him from the hotwalker and he ran over me a couple of times. I'd never seen him like that before."
Preakness Stakes
Two weeks later, in the 1-mile Preakness Stakes, Seattle Slew faced a new rival in multiple-stakes-winner Cormorant. Many handicappers believed a predicted speed duel with Cormorant would jeopardize the Derby winner's chances; Andrew Beyer picked Cormorant to win in his Washington Post column. Other highly rated contenders were J. O. Tobin, the English champion two-year-old colt of 1976, and Iron Constitution, who had won the Withers Stakes. For the first time, Turner chose to have the colt given butazolidin before the race, fearing that Seattle Slew might suffer a minor injury in his final workout.
Seattle Slew broke from post position 8 with Cormorant to his inside on a track with a definite bias for runners on the rail. As expected, the two battled for the early lead, sprinting nearly ten lengths clear of the rest of the field while setting fast fractions of 22 seconds for the first quarter-mile and 45 for the first half. Around the far turn, Seattle Slew started to open up a lead while completing the mile in 1:34. Cruguet then eased up on the colt down the stretch, allowing Iron Constitution to close to within 1 lengths. The final time of 1:54 was one of the fastest in the history of the race, especially notable as the track was considered to be somewhat dead.
Belmont Stakes
Seattle Slew trained well during the three weeks between the Preakness and Belmont Stakes, showing a new level of determination according to Turner. During one of his final workouts, Slew was pulled up early by his exercise rider. "He was afraid he could not hold him," said Turner. "I had warned the outriders, too. This horse might have gone around two or three times."
The 1977 Belmont Stakes was run on June 11 on a muddy track before a crowd of 70,229, with eight rivals facing Seattle Slew. Turner arrived late at the saddling enclosure, due in part to the number of cars parked on the backstretch, as well as his desire to limit the colt's exposure to the enthusiastic crowd. "Turner was fined," said Sally Hill later. "We paid the fine. They weren't going to start the race without him."
Going off at odds of 2-5, Seattle Slew went to the early lead. Though pressed at first by Spirit Level and then Run Dusty Run, he was able to relax, completing the opening mile in a leisurely 1:38. Spirit Level and Run Dusty Run closed down the gap around the far turn, and then Sanhedrin made a strong run to move into second place, raising concerns about Slew's ability to complete the distance. Seattle Slew responded to the challenge in the final quarter-mile when he opened up daylight between himself and the rest of the field. Down the stretch, Cruguet tapped him with the whip a few times to keep the colt's mind on the race and Seattle Slew won comfortably by four lengths over Run Dusty Run. He became the tenth American Triple Crown winner and (with his nine-for-nine record) was the first Triple Crown winner to finish the series undefeated.
Cruguet stood up in the stirrups and raised his right hand triumphantly some 20 yards before the finish line, leading some to criticize him for the "emotional flourish". Cruguet described his feelings as "happiness, just happiness" before hurrying off to ride in the next race. Turner was harder hit. "I ducked into a stall and broke down and cried," he said. "It was such a relief, because the pressure was off."
Aftermath
After the Triple Crown, Seattle Slew was sent to Hollywood Park Racetrack, which increased the purse for the Swaps Stakes to over $300,000 to lure him to run on July 3. In the Swaps, Seattle Slew was unable to get to the front as jockey Bill Shoemaker sent J.O. Tobin to the lead. J.O. Tobin set fast early fractions for a -mile race – 22 for the first quarter-mile, 45 for the half, 1:09 for six furlongs and 1:33 for the mile. Seattle Slew, boxed in for much of the race with Text to his side, eventually broke free but tired badly in the stretch. He finished fourth, 16 lengths behind J.O. Tobin, who won in a stakes record of 1:58, just two-fifths off the world record for the distance at that time.
The race was the cause of much controversy. Before shipping to California, Seattle Slew had been sedated repeatedly to be used in a Xerox advertising campaign for a new X-ray machine, then was sedated again during the flight. Turner believed this contributed to Seattle Slew's dull effort. Turner also said that he had disagreed with the decision to ship to California at all, feeling the colt needed more time to recover from the Triple Crown. The owners said that Turner had not raised objections prior to the race, and further that Turner's drinking problems were putting the horse at risk. At the end of the year, Turner was fired and replaced by Douglas Peterson.
Meanwhile, Seattle Slew was given time off to recover, then resumed training in August for a fall campaign. However, he was sidelined by a suspension to Hill, whose ownership share had been previously undisclosed. Despite the disappointing end to the season, Seattle Slew was the easy winner in the voting for champion three-year-old at the annual Eclipse Awards. The voting for American Horse of the Year honors was closer, with Seattle Slew prevailing over Forego by 105 votes to 84.
1978
In early 1978, Seattle Slew was stabled at Hialeah and was expected to make three or four starts in Florida, followed by a full campaign in New York's major stakes races. He was scheduled to make the first start of his four-year-old campaign on January 16, 1978 in the Tallahassee Handicap. However, he was scratched from the race on January 14 when he lost his appetite and was found to have a fever of 102. His condition then went quickly downhill, marked by weakness, dehydration and a sharp decrease in his white blood cell count. It was later revealed that his jugular vein had collapsed when a pre-race injection of butazolidin missed the vein.
While Seattle Slew slowly recovered, his owners contemplated retiring him to stud. Instead, they kept him in training for 1978 while syndicating him for a then-record $12 million. The Taylor and Hill families retained 50% of the shares while Brownwell Combs of Spendthrift Farm headed the syndication group.
Seattle Slew eventually returned to training and was shipped north to Aqueduct, which held "Seattle Slew day" on April 29. A crowd of 25,931 cheered while Seattle Slew was led around the paddock and then taken on track for a six-furlong workout, completed handily in 1:10. On May 14, Seattle Slew returned to racing in a seven-furlong allowance race. Over an extremely muddy track, he settled in second place behind Gallant Bob for the first quarter-mile, then started to open up on the field, eventually winning by lengths. Despite the adverse track conditions and never being urged by Cruguet, his time was a "brisk" 1:22.
Seattle Slew was being pointed to the Metropolitan Handicap at the end of May but suffered another setback when a filling in his left hind leg was discovered. The problem was thought to be minor, but it was not until August that he made his next start. This was in a seven-furlong allowance race at Saratoga Race Course, which he won by six lengths in 1:21 over a sloppy track.
In preparation for his fall campaign, Seattle Slew was sent to the Meadowlands on September 5 for a night race, the Paterson Handicap at a distance of miles. He went off as the 1-5 favorite despite being assigned 128 pounds. His main rival was Dr. Patches, who had an excellent record at the Meadowlands and was carrying only 114 pounds. Seattle Slew went straight to the lead and set fast early fractions. Turning for home though, Dr. Patches made his move and slowly drew past. Seattle Slew tried to fight back but lost by a neck in a major upset. Jean Cruguet lost the mount after the race, after expressing doubt if the horse had been sufficiently trained.
Marlboro Cup
The 1978 Marlboro Cup, run on September 16, was the first time that two Triple Crown winners raced each other. Affirmed had won the Triple Crown in a thrilling showdown with Alydar, and had won all but one of his starts that year, that loss coming by disqualification. Taylor was not concerned by Affirmed's reputation. "We've watched every one of his races this year and watched them carefully," he said. "He's an outstanding horse, but so is Slew. Affirmed had better be ready when the Marlboro Cup comes up, because he's going to see one big, black butt in front of him."
For the only time in his career, Seattle Slew was not the favorite, going off at 2-1 compared to Affirmed at 1-2. Affirmed and Seattle Slew were both known as front-runners but Seattle Slew's new jockey Angel Cordero Jr. felt that Affirmed had benefited from setting slow early fractions in his early races. He sent Seattle Slew to the lead and completed the first quarter in an easy 24 seconds, then picked up the pace down the backstretch to complete the half-mile in 47 seconds with Affirmed two lengths behind. Rounding the final turn into the stretch, Cordero allowed Slew to swing wide. Affirmed came up on the inside, but Seattle Slew responded to beat Affirmed by three lengths, with the third-place horse a further five lengths back. He completed the distance of miles in a time of 1:45, just two-fifths of a second off the world record set by Secretariat in the 1973 Marlboro Cup.
"I knew when we were able to go to the lead that we could win it," Cordero said. "Slew is such a nice horse and I was able to relax him on the backstretch. There isn't a horse in the world that could have beaten him today."
Woodward Stakes
Two weeks later, Seattle Slew was entered in the Woodward Stakes, then held at Belmont Park over the American classic distance of miles. Affirmed skipped the race, making Exceller the main contender in a field of five. Seattle Slew coasted through the first quarter in seconds, then picked up the pace under slight pressure from Exceller, normally known for his closing kick. Turning for home, Cordero used the whip twice and Seattle Slew drew off to win by four lengths. His time of 2 minutes flat for miles was a Belmont course record for a race started on the turn. (At that time, 10 furlong races at Belmont were normally started in a chute, allowing the horses to run straight for about half the race. However, the chute was under repair in 1978). The winnings from the race made Seattle Slew the 23rd horse in racing history to earn a million dollars.
Jockey Club Gold Cup
In October, Seattle Slew and Affirmed met again in the -mile Jockey Club Gold Cup at Belmont, which was televised nationally on the CBS network. Affirmed's trainer, Laz Barrera, did not want Seattle Slew to get an easy lead and dictate the pace as he had in the Marlboro Cup, so Barrera also entered a "rabbit" (Life's Hope) in an attempt to tire Slew. Seattle Slew ran in fractions of 22 for the first quarter, 45 for the half and 1:09 for three-quarters – extremely fast early times for a long race. Life's Hope dropped back, then Affirmed also faltered, having raced too close to the pace. Affirmed's problems were compounded when his saddle slipped.
Meanwhile, Bill Shoemaker on Exceller took advantage of the fast pace. Far back early, Exceller made a strong move on the far turn and saved ground by moving inside Seattle Slew as the tiring horse bore out turning for home. Exceller took the lead at the top of the stretch, and opened a half-length lead in midstretch. Seattle Slew fought back and lost by a nose in a photo finish. This stretch run is still remembered as among the all-time best, ranking with Sunday Silence and Easy Goer's Preakness in 1989 and the battles between Affirmed and Alydar. Despite the defeat, many analysts considered this to be Seattle Slew's greatest performance. Andrew Beyer (a Seattle Slew skeptic when the horse was a three-year-old) wrote for his lead, "Exceller was the winner of yesterday's Jockey Club Gold Cup, Seattle Slew was its hero."
Stuyvesant Handicap
Seattle Slew's last race was in the Stuyvesant Handicap on November 11 at Aqueduct Racetrack. He was assigned the high weight of , conceding his rivals from 19 to 27 pounds. As the 1-10 favorite, he went to the early lead and was never challenged, winning by lengths. He completed the -mile race in 1:47, just off the track and stakes record set by Riva Ridge in 1973. Watching the race were Turner and Cruguet, who both expressed regret that they'd had to part ways with the horse. "Even now," said Cruguet, "he should be undefeated."
Seattle Slew retired with 14 wins in 17 races and earnings of $1,208,726. He was named Champion Older Horse in 1978 but lost the Horse of the Year balloting to the horse he defeated in the Marlboro Cup, Affirmed.
Statistics
An asterisk before the odds means that Seattle Slew was the post-time favorite.
Source: Daily Racing Form
Stud career
Seattle Slew stood at stud at Spendthrift Farm in Lexington for seven years, before moving to Three Chimneys Farm in Midway in 1985. He was the leading sire of 1984, when his son Swale (who died later that year) won the Kentucky Derby and Belmont Stakes. He is part of a unique three generation sequence of Belmont Stakes Winners: Seattle Slew (who won the race in 1977) sired A.P. Indy (1992) who in turn sired Rags to Riches. Rags to Riches was just the third filly to win the race, after Ruthless in 1867 and Tanya in 1905. The victory earned jockey John Velazquez and trainer Todd Pletcher their first wins in any Triple Crown race.
Seattle Slew sired 1,103 named foals, of which 537 (48.7%) were winners and 111 (10.1%) were stakes winners. Major winners by Seattle Slew include:
A.P. Indy – Belmont Stakes, Breeders' Cup Classic, 1992 Horse of the Year (USA) and champion three-year-old, Hall of Fame inductee
Adored – Santa Margarita, Delaware Handicap
Capote – Breeders' Cup Juvenile
Fleet Renee – Ashland, Mother Goose
Flute – Kentucky Oaks
Hail Atlantis – Santa Anita Oaks
Lakeway – Santa Anita Oaks, Hollywood Oaks, Mother Goose
Landaluce – Oak Leaf Stakes, Champion two-year-old filly
Life at the Top – Mother Goose
Magic of Life – Coronation Stakes
Seattle Song – Prix de la Salamandre, Washington DC International
Septieme Ciel – Prix de la Forêt
Slew City Slew – Oaklawn Handicap, Gulfstream Park Handicap
Slew o' Gold - multiple stakes winner including Jockey Club Gold Cup (twice), Woodward Stakes (twice), Marlboro Stakes, Wood Memorial. Champion three-year-old (1983) and champion older horse (1984). Hall of fame inductee
Slewpy – Young American Stakes, Meadowlands Cup
Surfside – multiple stakes winner including Frizette and Santa Anita Oaks. Champion three-year-old filly (2000)
Swale – Kentucky Derby and Belmont Stakes
Taiki Blizzard – Yasuda Kinen
Vindication – Breeders' Cup Juvenile, Champion Two-Year-Old Colt of 2002
The primary conduit for the continuation of Seattle Slew's male line has been through A.P. Indy, who was the leading sire in North America of 2003 and 2006. A.P. Indy sired the 2003 Horse of the Year, Mineshaft, Preakness Stakes winner Bernardini and Belmont Stakes winner Rags to Riches. A.P. Indy's grandsons include Tapit. the leading North American sire in 2014, 2015 and 2016. Slew City Slew was also a good sire, whose sons include California champion Lava Man. In 2006, Lava Man became the first horse to win the Santa Anita Handicap, Hollywood Gold Cup and Pacific Classic Stakes in the same year.
In 2014, Seattle Slew's great-great grandson, California Chrome, won the Kentucky Derby and the Preakness. California Chrome was the second Kentucky Derby winner in a row who was a sire-line descendant of Seattle Slew, following Orb in 2013. California Chrome's bid for the Triple Crown was defeated by another great-grandson of Seattle Slew, Tonalist, by Tapit. Tapit also sired the winners of the 2016 and 2017 Belmont Stakes, Creator and Tapwrit respectively.
Seattle Slew was also a notable broodmare sire, leading the North American list in both 1995 and 1996. His daughters produced (among others) Cigar, the leading North American money-earner of his day.
Legacy
Seattle Slew underwent spinal fusion surgery at Rood and Riddle Equine Hospital for a neurological condition in 2000, followed by a second surgery in 2002. Upon recovery from the second surgery, he was moved to Hill 'n' Dale Farm to recover: his old stall at Three Chimney's was too close to the breeding shed, and he became agitated whenever mares arrived at the farm.
On May 7, 2002, 25 years to the day after he won the Kentucky Derby, Seattle Slew died in his sleep at age 28. He was buried whole at Hill 'n' Dale, the highest honor for a winning race horse, with his favorite blanket and a bag of peppermints. Three Chimneys Farm erected a statue of Seattle Slew near the stallion barn in his honor. Since fellow Triple Crown winner and rival Affirmed had died the year before, he had been the sole living Triple Crown winner. At the horse's death, there were no living Triple Crown winners for the first time since Sir Barton won the first Triple Crown in 1919. This phenomenon continued until American Pharoah's Triple Crown in 2015.
The Taylors remained close to Seattle Slew throughout his life and were with him at the time of his death. "He had the greatest heart," said Karen Taylor. "He was a fighter to the end." John Sikura of Hill 'n' Dale commented, "To be near greatness is what everyone in this business aspires to, and it happens so rarely. He was one in a million, and showed us there is that possibility in a game of impossibilities."
Seattle Slew was inducted into the National Museum of Racing and Hall of Fame in 1981. In the BloodHorse magazine's listing of the top 100 American thoroughbreds of the twentieth century, he was ranked ninth. A British publication, A Century of Champions, ranked him fourth among North American racehorses. In 2002, ESPN telecast a "SportsCentury" on Seattle Slew.
The book Seattle Slew, by Steve Cady and Barton Silverman, was released by Penguin Books in 1977. In 2000, the Eclipse Press released another book of the same title, written by Dan Mearns as part of the Thoroughbred Legends series.
In 2015, the state of Kentucky starting issuing a license plate bearing Seattle Slew's image, based on a photograph by Tony Leonard. Proceeds benefit the Kentucky Equine Education Project Foundation (KEEP).
Pedigree
Seattle Slew was inbred 4 x 4 to the stallion Nasrullah, meaning that Nasrullah appears twice in the fourth generation of his pedigree. His dam My Charmer was inbred 4 x 4 to both War Admiral and Baby League (a daughter of the highly influential broodmare La Troienne) through the full sisters Striking and Busher.
See also
A.P. Indy
Exceller
Three Chimneys Farm
References
Further reading
External links
Seattle Slew's Official Website
Seattle Slew's Kentucky Derby page
Seattle Slew profile at the National Museum of Racing and Hall of Fame
1974 racehorse births
2002 racehorse deaths
Racehorses trained in the United States
Horse racing track record setters
Racehorses bred in Kentucky
United States Thoroughbred Racing Hall of Fame inductees
Kentucky Derby winners
Triple Crown of Thoroughbred Racing winners
Eclipse Award winners
American Thoroughbred Horse of the Year
Preakness Stakes winners
Belmont Stakes winners
United States Champion Thoroughbred Sires
American Champion Thoroughbred broodmare sires
American Grade 1 Stakes winners
Thoroughbred family 13-c
Chefs-de-Race
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"Nelson Hackett (born ) was an escaped slave who fled to Canada. In 1841 he escaped from his Arkansas master, Alfred Wallace on a stolen horse, and 6 weeks later crossed the border and entered Upper Canada near what today is Windsor. Hackett was arrested and retained in Chatham.\n\nWallace, however, refused to let the matter drop, and he was well connected, particularly to the Governor of Arkansas, Archibald Yell. Wallace and an associate, George C. Grigg, travelled to Canada and made out dispositions against Hackett for stealing the horse, as well as a gold watch belonging to Wallace.\n\nDespite opposition from Upper Canada's Attorney General, William Henry Draper, Hackett was extradited to the United States on the order of Sir Charles Bagot, due to his theft of the watch, which exceeded what was necessary to take in order to facilitate his escape to freedom.\nPublic reaction from abolitionists, in England, Canada and the United States was strong. Politicians in the British House of Commons and Upper Canada's executive council questioned the motives for the extradition, as well as its legality.\n\nWallace seems to have been intent on \"teaching a lesson\" to American slaves; namely that Canada would not prove to be a safe haven for them. The fact that his legal bills far exceeded Hackett's market value seems to bear this out. In any event, his strategy failed. Hackett's escape brought more attention to Canada as a refuge for slaves, and when the extradition clause of the Webster–Ashburton Treaty was finally negotiated, slaves were protected from extradition to their former American masters.\n\nHackett's fate unknown after his return to Arkansas on whether he faced death as his punishment.\n\nExternal links\nBiography at the Dictionary of Canadian Biography Online\n\n1810 births\nYear of death missing\n19th-century American slaves\nPeople extradited from Canada to the United States",
"...For the Whole World to See is a studio album by the American band Death, released in 2009 and consisting of various demos originally recorded in the mid 1970s.\n\nHistory\nIn 1975 the band entered a studio to record a 12-song album. After refusing to change their group's name, Death was turned away by Clive Davis of Columbia Records. Only seven songs were completed and the album was never released. The surviving songs were released as ...For the Whole World to See in 2009 by Drag City.\n\nJust prior to and right after the record's release, the songs on ...For the Whole World to See were performed live by Rough Francis, a band formed by the three sons of Death's original bassist. With the record's critical acclaim and praise from many other musicians, the two surviving members of Death reformed the band with a new guitarist to promote the record themselves.\n\nReception\n\nInitial critical response to ...For the Whole World to See was positive. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album has received an average score of 76, based on 8 reviews.\n\nJack White of The White Stripes related his first reaction to the album in a The New York Times article: \"I couldn't believe what I was hearing. When I was told the history of the band and what year they recorded this music, it just didn't make sense. Ahead of punk, and ahead of their time.\"\n\nThe song \"You're a Prisoner\" was featured in the 2011 film Kill the Irishman.\n\nThe song \"Freakin Out\" is played in the main action sequence on the sixth episode of the Starz show \"Ash vs. Evil Dead\".\n\nThe song \"Keep on Knocking\" was used for the soundtrack for the video game \"Tony Hawk's Pro Skater 5\".\n\nThe song \"Politicians in My Eyes\" was covered by the band Black Pumas in the deluxe release of their debut album (2020)\n\nTrack listing\n\nPersonnel\n David Hackney – guitar\n Bobby Hackney – bass, lead vocals\n Dannis Hackney – drums\n Death – producer\n Tammy Hackney – photography\n Jim Vitti – engineer\n\nReferences\n\nExternal links\n \n\n2009 debut albums\nDeath (proto-punk band) albums\nDrag City (record label) albums"
] |
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Where is Seattle Slew buried at?
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Seattle Slew
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Seattle Slew stood at stud at Spendthrift Farm in Lexington for seven years, before moving to Three Chimneys Farm in Midway in 1985. He was the leading sire of 1984, when his son Swale (who died later that year) won the Kentucky Derby and Belmont Stakes. His other progeny include the talented, ill-fated 1982 champion two-year-old filly, Landaluce, Slew o' Gold (winner of the 1983 Eclipse Award for Outstanding Three-Year-Old Male Horse and the 1984 Eclipse Award for Outstanding Older Male Horse), 1992 Horse of the Year A.P. Indy and the 2000 champion three-year-old filly Surfside. He is part of a unique three generation sequence of Belmont Stakes Winners: Seattle Slew (1977) - A.P. Indy (1992) - Rags to Riches (2004). The primary conduit for Seattle Slew's continuation of his male line has been through A.P. Indy. A.P. Indy has done well at stud in Kentucky, siring (among others) the 2003 Horse of the Year, Mineshaft. One of Seattle Slew's most successful grandsons is the California champion Lava Man (sired by Slew City Slew). In 2006, Lava Man became the first horse to win the Santa Anita Handicap, Hollywood Gold Cup and Pacific Classic Stakes in the same year. Seattle Slew was also a leading broodmare sire, his daughters producing (among others) Cigar (leading North American money-earner of his day). Races in honor of his dam, My Charmer, include the My Charmer Handicap held at Florida's Calder Race Course annually and the My Charmer Stakes held at Kentucky's Turfway Park. Rags to Riches, a granddaughter, won the 2007 Belmont Stakes - the third filly to win the race, after Ruthless in 1867 and Tanya in 1905. The victory earned jockey John Velazquez and trainer Todd Pletcher their first wins in any Triple Crown race. Rags To Riches was the 22nd filly to run in the Belmont. In 2002, ESPN telecast a "SportsCentury" on Seattle Slew. In 2014, Seattle Slew's great-great grandson, California Chrome, won the Kentucky Derby and the Preakness. California Chrome was the second Kentucky Derby winner in a row who was a sire-line descendant of Seattle Slew, following Orb in 2013. California Chrome's bid for the Triple Crown was defeated by another great-grandson of Seattle Slew, Tonalist, by leading sire Tapit. Tapit also sired the winners of the 2016 and 2017 Belmont Stakes, Creator and Tapwrit respectively. 25 years to the day after he won the Kentucky Derby, Seattle Slew died in his sleep at age 28. He was buried whole, the highest honor for a winning race horse, in the courtyard at Hill 'N' Dale Farm near Lexington, Kentucky, with his favorite blanket and a bag of peppermints which he liked to eat. Three Chimneys Farm erected a statue of Seattle Slew near the stallion barn in his honor. Since fellow Triple Crown winner and rival Affirmed had died the year before, he was the sole living Triple Crown winner. At the horse's death, there were no living Triple Crown winners for the first time since Sir Barton won the first Triple Crown in 1919. This phenomenon continued until American Pharoah's Triple Crown in 2015. CANNOTANSWER
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in the courtyard at Hill 'N' Dale Farm near Lexington, Kentucky, with his favorite blanket and a bag of peppermints which he liked to eat.
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Seattle Slew (February 15, 1974 – May 7, 2002) was a champion American Thoroughbred racehorse who became the tenth winner of the American Triple Crown (1977). He is one of only two horses to have won the Triple Crown while being undefeated in any previous race; the second was Justify who won the Triple Crown in 2018 and is descended from Seattle Slew. Seattle Slew was the 1977 Horse of the Year and a champion at ages two, three, and four. In the Blood-Horse magazine List of the Top 100 U.S. Racehorses of the 20th Century Seattle Slew was ranked ninth.
Joe Hirsch of the Daily Racing Form wrote of Seattle Slew's three-year-old campaign: "Every time he ran he was an odds-on favorite, and the response to his presence on the racetrack, either for a morning workout or a major race, was electric. 'Slewmania' was a virulent and widespread condition."
Seattle Slew later became an outstanding sire and broodmare sire, leading the North American sire list in 1984 when his son Swale won the Kentucky Derby and Belmont Stakes. Another son, A.P. Indy, won the Belmont Stakes and continued the sire line through descendants such as Mineshaft, Tapit, and California Chrome.
Background
Seattle Slew was a dark bay horse with a small white patch of hair by his left rear hoof. He was bred by Ben S. Castleman, a Kentucky racing commissioner, and was foaled at White Horse Acres near Lexington, Kentucky. Seattle Slew was the first foal out of My Charmer, a stakes-winning daughter of the otherwise obscure sire Poker. My Charmer went on to produce the 2000 Guineas winner Lomond and Seattle Dancer, and several of her daughters became outstanding producers. My Charmer descends from champion and noted “blue hen” Myrtlewood. Castleman originally intended to breed My Charmer to Jacinto but that stallion's book was full so Seth Hancock of Claiborne Farm recommended the mare be bred instead to Bold Reasoning, a first-crop sire who had won the Jersey Derby and Withers Stakes in 1971. Bold Reasoning was a grand-son of Bold Ruler, whose descendants, including Secretariat, dominated the Kentucky Derby in the 1970s.
Seattle Slew was not considered particularly attractive as a foal, leading some to say he looked like a mule. He was so awkward that his first nickname was Baby Huey. As he matured though, he developed a graceful front-running style with an acceleration that was compared to "a falcon in a dive." At maturity, he stood high at the withers with strong hind legs and a powerful shoulder. However, his right forefoot was noticeably turned out.
Seattle Slew was purchased for just $17,500 (equivalent to $ in ) at the 1975 Fasig-Tipton yearling auction. His new owners, later known as "the Slew Crew", were Karen and Mickey Taylor and Jim and Sally Hill. Horse owners since the early 1970s, Karen Taylor was a former flight attendant, and her husband, Mickey Taylor, was a lumberman. They lived in White Swan, Washington. Jim Hill, a veterinarian, picked out Seattle Slew at the sale, though the original budget was only $12,000. Karen Taylor, liking the look of the colt, urged her husband to go higher. They named the colt for the city of Seattle and the sloughs which loggers once used to transport heavy logs. Karen felt that the pronunciation of slough — a slow-moving channel of the Pacific Northwest — would be too hard for people to remember, so the spelling was changed to Slew. A later co-owner was Glenn Rasmussen, the accountant for the equine partnerships.
Seattle Slew's owners sent the colt to Billy Turner, a friend and former steeplechase rider who had trained horses seasonally in Maryland since the early 1960s. Based at Belmont Park in the mid-1970s, Turner accepted Seattle Slew and another Taylor-Hill purchase and sent them to Andor Farm in Monkton, where his wife at the time, Paula, taught yearlings to be ridden.
Seattle Slew was described as "intelligent, dominant and determined." "He was very easygoing," Turner said. "He liked people but he wasn't lovey dovey. He didn't like people petting him. He was the boss hoss. He would stand back and just look at you. He would let you do whatever you wanted him to do, but only if he wanted to do it."
Racing career
1976: two-year-old season
Seattle Slew's debut was delayed by his initial awkwardness, but he started to attract attention over the course of the summer at Saratoga with some fast workouts. Taylor later recalled that the colt had been timed in a brilliant time of 33 seconds for three-eighths of a mile, but the clocker instead recorded the time as 36 seconds because he felt people wouldn't believe the right figure. Slew was set to make his first start at the end of August but injured himself in his stall. He finally made his first start in a six-furlong maiden race on September 20, 1976, the fifth race at Belmont Park. The big, nearly black colt was bet down to the 5–2 favorite. He gave the public its first look at what was later called his "war dance" (his habit of tiptoeing on the track before his races) and won by five lengths. He followed up in seven-furlong allowance race on October 5, 1976, winning by lengths.
On October 16, Taylor stepped the colt up in class to enter the Grade I Champagne Stakes, then the most important race for two-year-olds in the United States. His biggest rival was For the Moment, who had won four straight races including the Belmont Futurity and was a full-brother to champion Honest Pleasure. Nonetheless, Seattle Slew went off as the almost even-money favorite. Jockey Jean Cruguet sent him straight to the lead and opened up a lead down the backstretch. None of the other riders chose to challenge him, perhaps believing the colt would tire down the stretch. Instead Seattle Slew continued to draw away, eventually winning by lengths in a time of 1:34 for one mile, then a stakes record.
Despite starting just three times, Seattle Slew was named Champion Two-Year-Old of 1976.
1977: three-year-old season
Turner scheduled three races for Seattle Slew leading up to the Kentucky Derby, which was then considered to be a light campaign. Turner felt that the main threat to Seattle Slew was his health, because the horse ran so fast and hard every time. Hill later said that Turner used the prep races as workouts and did as little as possible in between. Turner scheduled only 19 breezes for Seattle Slew before and during his Triple Crown campaign, instead trying to get the colt to relax.
Seattle Slew's first start came as a three-year-old in an allowance race on March 9, 1977 at Hialeah Park Race Track. Going off at odds of 1-10, he dueled with White Rammer for the early lead while completing the first quarter-mile in a swift 22 seconds. He kept up the pace, completing the half-mile in 44 seconds and six furlongs in 1:08 flat (which would have been a new track record). Eased in the final sixteenth of a mile, he still set a seven-furlong track record of 1:20 in winning by nine lengths. Despite the ease of the win, Turner was concerned, fearing the colt was using too much energy early in his races to withstand the challenge of the longer races to come.
On March 26, Seattle Slew entered the Flamingo Stakes, where he went off at odds of 1-5. He set his own pace and opened a large lead moving into the final turn. He was eased down the stretch but still won by four lengths in a time of 1:47 for miles – the third-fastest time in the stakes' 51-year history.
He then shipped north to Aqueduct Racetrack in New York, where he became the subject of intense media scrutiny. His owners considered entering him in the Gotham Stakes on April 9 but Turner was against it because heavy rains had rendered the main track unusable, meaning the colt had not been able to properly work out. Instead, Seattle Slew made his third start of the year on April 23 in the Wood Memorial Stakes. Going off as the 1-10 favorite, he went to the early lead, challenged by Fratello Ed. Cruguet got the colt to relax and they set sensible fractions, then coasted to a length win. The time of 1:49 was considered unimpressive, but his connections were pleased by the horse's demeanor. "He doesn't have to run the way he has before," said Cruguet. "He was never really pressed."
Kentucky Derby
The "Slew Crew" then relocated to Churchill Downs where the Taylors set up a camper opposite the colt's stall in Barn 42, which traditionally houses the favorite for the Kentucky Derby. With Mickey Taylor's father acting as chief bodyguard for the colt, the connections dealt with a constant stream of visitors. Showing his growing maturity, Seattle Slew remained relaxed throughout the week leading up to the race. His training did not go entirely to expectations however when he posted an uncharacteristically slow workout the Sunday before the race. Turner planned to sharpen the colt with a five-furlong breeze on the Thursday before the race but the track came up muddy. Seattle Slew's final workout was a three-furlong breeze in 34 seconds the morning before the Derby was held.
The 1977 Kentucky Derby was held on May 7 before a crowd of 124,028. The track was rated as fast despite showers earlier in the day. Seattle Slew was the heavy favorite at odds of 1-2 but still faced a large field as many felt the colt would be vulnerable at the Derby's distance of miles. The second choice was Run Dusty Run, who had been the second-ranked two-year-old and had run second in several major Derby prep races. For the Moment was also given a strong chance after winning the Blue Grass Stakes.
In reaction to the crowd noise, Seattle Slew washed out in the paddock and again during the post parade. Cruguet did little to warm up the colt, instead taking him away from the crowd to relax. He had drawn post position three, and had to wait in the starting gate for the rest of the field to load. Slew reacted slowly at the break then swerved nearly sideways and found himself trapped near the back of the field. He reacted by charging through the field, bumping several other horses who were in his way. After two furlongs, he had worked his way into second place just behind For the Moment. The two colts then dueled around the first turn before Cruguet got Seattle Slew to relax down the backstretch, under a tight restraint, allowing For the Moment to open up a lead of a length. For the Moment completed the first three-quarters of a mile in 1:10, then was joined again by Seattle Slew as they moved around the final turn. At the top of the stretch, Cruguet went to the whip and Seattle Slew pulled away by 4 lengths, then shut down in the final eighth of a mile to win by lengths over Run Dusty Run.
The colt still had his detractors. The final time of 2:02 was considered slow, particularly as the final quarter mile was run in 26 seconds. Turner pointed to the interruptions in the colt's training. "Because of the circumstances, he was somewhat undertrained. You knew it, and I knew it," he said.
Seattle Slew was visibly upset after the race. "It was the only time I was scared of him," said his groom, John Polston. "He was so high-strung that night, he was evil, just evil. I couldn't believe how wound tight he was. It was like he hadn't even been in a race. I had to take him from the hotwalker and he ran over me a couple of times. I'd never seen him like that before."
Preakness Stakes
Two weeks later, in the 1-mile Preakness Stakes, Seattle Slew faced a new rival in multiple-stakes-winner Cormorant. Many handicappers believed a predicted speed duel with Cormorant would jeopardize the Derby winner's chances; Andrew Beyer picked Cormorant to win in his Washington Post column. Other highly rated contenders were J. O. Tobin, the English champion two-year-old colt of 1976, and Iron Constitution, who had won the Withers Stakes. For the first time, Turner chose to have the colt given butazolidin before the race, fearing that Seattle Slew might suffer a minor injury in his final workout.
Seattle Slew broke from post position 8 with Cormorant to his inside on a track with a definite bias for runners on the rail. As expected, the two battled for the early lead, sprinting nearly ten lengths clear of the rest of the field while setting fast fractions of 22 seconds for the first quarter-mile and 45 for the first half. Around the far turn, Seattle Slew started to open up a lead while completing the mile in 1:34. Cruguet then eased up on the colt down the stretch, allowing Iron Constitution to close to within 1 lengths. The final time of 1:54 was one of the fastest in the history of the race, especially notable as the track was considered to be somewhat dead.
Belmont Stakes
Seattle Slew trained well during the three weeks between the Preakness and Belmont Stakes, showing a new level of determination according to Turner. During one of his final workouts, Slew was pulled up early by his exercise rider. "He was afraid he could not hold him," said Turner. "I had warned the outriders, too. This horse might have gone around two or three times."
The 1977 Belmont Stakes was run on June 11 on a muddy track before a crowd of 70,229, with eight rivals facing Seattle Slew. Turner arrived late at the saddling enclosure, due in part to the number of cars parked on the backstretch, as well as his desire to limit the colt's exposure to the enthusiastic crowd. "Turner was fined," said Sally Hill later. "We paid the fine. They weren't going to start the race without him."
Going off at odds of 2-5, Seattle Slew went to the early lead. Though pressed at first by Spirit Level and then Run Dusty Run, he was able to relax, completing the opening mile in a leisurely 1:38. Spirit Level and Run Dusty Run closed down the gap around the far turn, and then Sanhedrin made a strong run to move into second place, raising concerns about Slew's ability to complete the distance. Seattle Slew responded to the challenge in the final quarter-mile when he opened up daylight between himself and the rest of the field. Down the stretch, Cruguet tapped him with the whip a few times to keep the colt's mind on the race and Seattle Slew won comfortably by four lengths over Run Dusty Run. He became the tenth American Triple Crown winner and (with his nine-for-nine record) was the first Triple Crown winner to finish the series undefeated.
Cruguet stood up in the stirrups and raised his right hand triumphantly some 20 yards before the finish line, leading some to criticize him for the "emotional flourish". Cruguet described his feelings as "happiness, just happiness" before hurrying off to ride in the next race. Turner was harder hit. "I ducked into a stall and broke down and cried," he said. "It was such a relief, because the pressure was off."
Aftermath
After the Triple Crown, Seattle Slew was sent to Hollywood Park Racetrack, which increased the purse for the Swaps Stakes to over $300,000 to lure him to run on July 3. In the Swaps, Seattle Slew was unable to get to the front as jockey Bill Shoemaker sent J.O. Tobin to the lead. J.O. Tobin set fast early fractions for a -mile race – 22 for the first quarter-mile, 45 for the half, 1:09 for six furlongs and 1:33 for the mile. Seattle Slew, boxed in for much of the race with Text to his side, eventually broke free but tired badly in the stretch. He finished fourth, 16 lengths behind J.O. Tobin, who won in a stakes record of 1:58, just two-fifths off the world record for the distance at that time.
The race was the cause of much controversy. Before shipping to California, Seattle Slew had been sedated repeatedly to be used in a Xerox advertising campaign for a new X-ray machine, then was sedated again during the flight. Turner believed this contributed to Seattle Slew's dull effort. Turner also said that he had disagreed with the decision to ship to California at all, feeling the colt needed more time to recover from the Triple Crown. The owners said that Turner had not raised objections prior to the race, and further that Turner's drinking problems were putting the horse at risk. At the end of the year, Turner was fired and replaced by Douglas Peterson.
Meanwhile, Seattle Slew was given time off to recover, then resumed training in August for a fall campaign. However, he was sidelined by a suspension to Hill, whose ownership share had been previously undisclosed. Despite the disappointing end to the season, Seattle Slew was the easy winner in the voting for champion three-year-old at the annual Eclipse Awards. The voting for American Horse of the Year honors was closer, with Seattle Slew prevailing over Forego by 105 votes to 84.
1978
In early 1978, Seattle Slew was stabled at Hialeah and was expected to make three or four starts in Florida, followed by a full campaign in New York's major stakes races. He was scheduled to make the first start of his four-year-old campaign on January 16, 1978 in the Tallahassee Handicap. However, he was scratched from the race on January 14 when he lost his appetite and was found to have a fever of 102. His condition then went quickly downhill, marked by weakness, dehydration and a sharp decrease in his white blood cell count. It was later revealed that his jugular vein had collapsed when a pre-race injection of butazolidin missed the vein.
While Seattle Slew slowly recovered, his owners contemplated retiring him to stud. Instead, they kept him in training for 1978 while syndicating him for a then-record $12 million. The Taylor and Hill families retained 50% of the shares while Brownwell Combs of Spendthrift Farm headed the syndication group.
Seattle Slew eventually returned to training and was shipped north to Aqueduct, which held "Seattle Slew day" on April 29. A crowd of 25,931 cheered while Seattle Slew was led around the paddock and then taken on track for a six-furlong workout, completed handily in 1:10. On May 14, Seattle Slew returned to racing in a seven-furlong allowance race. Over an extremely muddy track, he settled in second place behind Gallant Bob for the first quarter-mile, then started to open up on the field, eventually winning by lengths. Despite the adverse track conditions and never being urged by Cruguet, his time was a "brisk" 1:22.
Seattle Slew was being pointed to the Metropolitan Handicap at the end of May but suffered another setback when a filling in his left hind leg was discovered. The problem was thought to be minor, but it was not until August that he made his next start. This was in a seven-furlong allowance race at Saratoga Race Course, which he won by six lengths in 1:21 over a sloppy track.
In preparation for his fall campaign, Seattle Slew was sent to the Meadowlands on September 5 for a night race, the Paterson Handicap at a distance of miles. He went off as the 1-5 favorite despite being assigned 128 pounds. His main rival was Dr. Patches, who had an excellent record at the Meadowlands and was carrying only 114 pounds. Seattle Slew went straight to the lead and set fast early fractions. Turning for home though, Dr. Patches made his move and slowly drew past. Seattle Slew tried to fight back but lost by a neck in a major upset. Jean Cruguet lost the mount after the race, after expressing doubt if the horse had been sufficiently trained.
Marlboro Cup
The 1978 Marlboro Cup, run on September 16, was the first time that two Triple Crown winners raced each other. Affirmed had won the Triple Crown in a thrilling showdown with Alydar, and had won all but one of his starts that year, that loss coming by disqualification. Taylor was not concerned by Affirmed's reputation. "We've watched every one of his races this year and watched them carefully," he said. "He's an outstanding horse, but so is Slew. Affirmed had better be ready when the Marlboro Cup comes up, because he's going to see one big, black butt in front of him."
For the only time in his career, Seattle Slew was not the favorite, going off at 2-1 compared to Affirmed at 1-2. Affirmed and Seattle Slew were both known as front-runners but Seattle Slew's new jockey Angel Cordero Jr. felt that Affirmed had benefited from setting slow early fractions in his early races. He sent Seattle Slew to the lead and completed the first quarter in an easy 24 seconds, then picked up the pace down the backstretch to complete the half-mile in 47 seconds with Affirmed two lengths behind. Rounding the final turn into the stretch, Cordero allowed Slew to swing wide. Affirmed came up on the inside, but Seattle Slew responded to beat Affirmed by three lengths, with the third-place horse a further five lengths back. He completed the distance of miles in a time of 1:45, just two-fifths of a second off the world record set by Secretariat in the 1973 Marlboro Cup.
"I knew when we were able to go to the lead that we could win it," Cordero said. "Slew is such a nice horse and I was able to relax him on the backstretch. There isn't a horse in the world that could have beaten him today."
Woodward Stakes
Two weeks later, Seattle Slew was entered in the Woodward Stakes, then held at Belmont Park over the American classic distance of miles. Affirmed skipped the race, making Exceller the main contender in a field of five. Seattle Slew coasted through the first quarter in seconds, then picked up the pace under slight pressure from Exceller, normally known for his closing kick. Turning for home, Cordero used the whip twice and Seattle Slew drew off to win by four lengths. His time of 2 minutes flat for miles was a Belmont course record for a race started on the turn. (At that time, 10 furlong races at Belmont were normally started in a chute, allowing the horses to run straight for about half the race. However, the chute was under repair in 1978). The winnings from the race made Seattle Slew the 23rd horse in racing history to earn a million dollars.
Jockey Club Gold Cup
In October, Seattle Slew and Affirmed met again in the -mile Jockey Club Gold Cup at Belmont, which was televised nationally on the CBS network. Affirmed's trainer, Laz Barrera, did not want Seattle Slew to get an easy lead and dictate the pace as he had in the Marlboro Cup, so Barrera also entered a "rabbit" (Life's Hope) in an attempt to tire Slew. Seattle Slew ran in fractions of 22 for the first quarter, 45 for the half and 1:09 for three-quarters – extremely fast early times for a long race. Life's Hope dropped back, then Affirmed also faltered, having raced too close to the pace. Affirmed's problems were compounded when his saddle slipped.
Meanwhile, Bill Shoemaker on Exceller took advantage of the fast pace. Far back early, Exceller made a strong move on the far turn and saved ground by moving inside Seattle Slew as the tiring horse bore out turning for home. Exceller took the lead at the top of the stretch, and opened a half-length lead in midstretch. Seattle Slew fought back and lost by a nose in a photo finish. This stretch run is still remembered as among the all-time best, ranking with Sunday Silence and Easy Goer's Preakness in 1989 and the battles between Affirmed and Alydar. Despite the defeat, many analysts considered this to be Seattle Slew's greatest performance. Andrew Beyer (a Seattle Slew skeptic when the horse was a three-year-old) wrote for his lead, "Exceller was the winner of yesterday's Jockey Club Gold Cup, Seattle Slew was its hero."
Stuyvesant Handicap
Seattle Slew's last race was in the Stuyvesant Handicap on November 11 at Aqueduct Racetrack. He was assigned the high weight of , conceding his rivals from 19 to 27 pounds. As the 1-10 favorite, he went to the early lead and was never challenged, winning by lengths. He completed the -mile race in 1:47, just off the track and stakes record set by Riva Ridge in 1973. Watching the race were Turner and Cruguet, who both expressed regret that they'd had to part ways with the horse. "Even now," said Cruguet, "he should be undefeated."
Seattle Slew retired with 14 wins in 17 races and earnings of $1,208,726. He was named Champion Older Horse in 1978 but lost the Horse of the Year balloting to the horse he defeated in the Marlboro Cup, Affirmed.
Statistics
An asterisk before the odds means that Seattle Slew was the post-time favorite.
Source: Daily Racing Form
Stud career
Seattle Slew stood at stud at Spendthrift Farm in Lexington for seven years, before moving to Three Chimneys Farm in Midway in 1985. He was the leading sire of 1984, when his son Swale (who died later that year) won the Kentucky Derby and Belmont Stakes. He is part of a unique three generation sequence of Belmont Stakes Winners: Seattle Slew (who won the race in 1977) sired A.P. Indy (1992) who in turn sired Rags to Riches. Rags to Riches was just the third filly to win the race, after Ruthless in 1867 and Tanya in 1905. The victory earned jockey John Velazquez and trainer Todd Pletcher their first wins in any Triple Crown race.
Seattle Slew sired 1,103 named foals, of which 537 (48.7%) were winners and 111 (10.1%) were stakes winners. Major winners by Seattle Slew include:
A.P. Indy – Belmont Stakes, Breeders' Cup Classic, 1992 Horse of the Year (USA) and champion three-year-old, Hall of Fame inductee
Adored – Santa Margarita, Delaware Handicap
Capote – Breeders' Cup Juvenile
Fleet Renee – Ashland, Mother Goose
Flute – Kentucky Oaks
Hail Atlantis – Santa Anita Oaks
Lakeway – Santa Anita Oaks, Hollywood Oaks, Mother Goose
Landaluce – Oak Leaf Stakes, Champion two-year-old filly
Life at the Top – Mother Goose
Magic of Life – Coronation Stakes
Seattle Song – Prix de la Salamandre, Washington DC International
Septieme Ciel – Prix de la Forêt
Slew City Slew – Oaklawn Handicap, Gulfstream Park Handicap
Slew o' Gold - multiple stakes winner including Jockey Club Gold Cup (twice), Woodward Stakes (twice), Marlboro Stakes, Wood Memorial. Champion three-year-old (1983) and champion older horse (1984). Hall of fame inductee
Slewpy – Young American Stakes, Meadowlands Cup
Surfside – multiple stakes winner including Frizette and Santa Anita Oaks. Champion three-year-old filly (2000)
Swale – Kentucky Derby and Belmont Stakes
Taiki Blizzard – Yasuda Kinen
Vindication – Breeders' Cup Juvenile, Champion Two-Year-Old Colt of 2002
The primary conduit for the continuation of Seattle Slew's male line has been through A.P. Indy, who was the leading sire in North America of 2003 and 2006. A.P. Indy sired the 2003 Horse of the Year, Mineshaft, Preakness Stakes winner Bernardini and Belmont Stakes winner Rags to Riches. A.P. Indy's grandsons include Tapit. the leading North American sire in 2014, 2015 and 2016. Slew City Slew was also a good sire, whose sons include California champion Lava Man. In 2006, Lava Man became the first horse to win the Santa Anita Handicap, Hollywood Gold Cup and Pacific Classic Stakes in the same year.
In 2014, Seattle Slew's great-great grandson, California Chrome, won the Kentucky Derby and the Preakness. California Chrome was the second Kentucky Derby winner in a row who was a sire-line descendant of Seattle Slew, following Orb in 2013. California Chrome's bid for the Triple Crown was defeated by another great-grandson of Seattle Slew, Tonalist, by Tapit. Tapit also sired the winners of the 2016 and 2017 Belmont Stakes, Creator and Tapwrit respectively.
Seattle Slew was also a notable broodmare sire, leading the North American list in both 1995 and 1996. His daughters produced (among others) Cigar, the leading North American money-earner of his day.
Legacy
Seattle Slew underwent spinal fusion surgery at Rood and Riddle Equine Hospital for a neurological condition in 2000, followed by a second surgery in 2002. Upon recovery from the second surgery, he was moved to Hill 'n' Dale Farm to recover: his old stall at Three Chimney's was too close to the breeding shed, and he became agitated whenever mares arrived at the farm.
On May 7, 2002, 25 years to the day after he won the Kentucky Derby, Seattle Slew died in his sleep at age 28. He was buried whole at Hill 'n' Dale, the highest honor for a winning race horse, with his favorite blanket and a bag of peppermints. Three Chimneys Farm erected a statue of Seattle Slew near the stallion barn in his honor. Since fellow Triple Crown winner and rival Affirmed had died the year before, he had been the sole living Triple Crown winner. At the horse's death, there were no living Triple Crown winners for the first time since Sir Barton won the first Triple Crown in 1919. This phenomenon continued until American Pharoah's Triple Crown in 2015.
The Taylors remained close to Seattle Slew throughout his life and were with him at the time of his death. "He had the greatest heart," said Karen Taylor. "He was a fighter to the end." John Sikura of Hill 'n' Dale commented, "To be near greatness is what everyone in this business aspires to, and it happens so rarely. He was one in a million, and showed us there is that possibility in a game of impossibilities."
Seattle Slew was inducted into the National Museum of Racing and Hall of Fame in 1981. In the BloodHorse magazine's listing of the top 100 American thoroughbreds of the twentieth century, he was ranked ninth. A British publication, A Century of Champions, ranked him fourth among North American racehorses. In 2002, ESPN telecast a "SportsCentury" on Seattle Slew.
The book Seattle Slew, by Steve Cady and Barton Silverman, was released by Penguin Books in 1977. In 2000, the Eclipse Press released another book of the same title, written by Dan Mearns as part of the Thoroughbred Legends series.
In 2015, the state of Kentucky starting issuing a license plate bearing Seattle Slew's image, based on a photograph by Tony Leonard. Proceeds benefit the Kentucky Equine Education Project Foundation (KEEP).
Pedigree
Seattle Slew was inbred 4 x 4 to the stallion Nasrullah, meaning that Nasrullah appears twice in the fourth generation of his pedigree. His dam My Charmer was inbred 4 x 4 to both War Admiral and Baby League (a daughter of the highly influential broodmare La Troienne) through the full sisters Striking and Busher.
See also
A.P. Indy
Exceller
Three Chimneys Farm
References
Further reading
External links
Seattle Slew's Official Website
Seattle Slew's Kentucky Derby page
Seattle Slew profile at the National Museum of Racing and Hall of Fame
1974 racehorse births
2002 racehorse deaths
Racehorses trained in the United States
Horse racing track record setters
Racehorses bred in Kentucky
United States Thoroughbred Racing Hall of Fame inductees
Kentucky Derby winners
Triple Crown of Thoroughbred Racing winners
Eclipse Award winners
American Thoroughbred Horse of the Year
Preakness Stakes winners
Belmont Stakes winners
United States Champion Thoroughbred Sires
American Champion Thoroughbred broodmare sires
American Grade 1 Stakes winners
Thoroughbred family 13-c
Chefs-de-Race
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"The Ducal Crypt () is a burial chamber beneath the chancel of Stephansdom in Vienna, Austria. It holds 78 containers with the bodies, hearts, or viscera of 72 members of the House of Habsburg.\n\nHistory\nBefore his death at age 25 in 1365, Duke Rudolf IV had ordered a crypt to be built for his remains in the new cathedral he commissioned, and it has sheltered those remains for over 650 years. He also ordered a cenotaph for himself to be placed upstairs above the crypt, in front of the high altar. That symbolic tomb was later moved to the north choir and his epitaph written in secret symbols was placed on the wall of that choir.\n\nThe family of the ruling line of Austrian dukes was buried here after Rudolf IV, but after the dynasty became emperors they were buried in various cities (Vienna was not yet the settled seat of the emperor). After the Imperial Crypt at the Kapuzinerkirche opened in 1633, it became the new dynastic burial place.\n\nEmbalmers have known since the time of the Ancient Egyptians that it is necessary to remove the internal organs if the rest of the body is to be preserved. The containers with those organs were usually put in the coffin, but when the heir to the Imperial Throne, King Ferdinand IV of the Romans, died in 1654, he specified in his will that the container with his heart be placed in the Augustinerkirche, his body in the Imperial Crypt in the Kapuzinerkirche, and the urn with his viscera in the crypt at the Stephansdom. His instructions resulted in the foundation of the Herzgruft at the Augustinerkirche. His younger brother, Emperor Leopold I, pursued a tradition imitating that distribution of remains, and also enlarged the Imperial Crypt to make it large enough for additional future burials. The urns with viscera were thereafter regularly deposited in the Ducal Crypt in the Stephansdom. There are now 33 persons who are each buried in all three places.\n\nBy 1754 the small rectangular Ducal Crypt was overcrowded with 12 sarcophagi and 39 urns, so the area was expanded with an oval chamber being added (directly beneath the present location of the Archbishop's Throne) beyond the east end of the rectangular one. New sarcophagi were made for some of the bodies.\n\nIn 1956 the crypt was renovated and the contents were rearranged. The sarcophagi of Duke Rudolf IV and his wife were placed upon a pedestal and the 62 urns containing organs were moved from the two rows of shelves around the new section to cabinets in the original chamber.\n\nDeposition in the crypt has not always been permanent. Emperor Frederick III lay here for only 20 years after his death, until his magnificent tomb upstairs in the south choir was ready. The body of his brother, Archduke Albert VI, was removed after 300 years.\n\nThe greatest influx, other that the regular arrival of visceral urns, came as a result of the Austrian version of the Dissolution of the English Monasteries under Emperor Joseph II in 1782. When the religious institutions holding bodies of some of the members of the dynasty were closed, they needed to be moved. The Imperial Crypt at that time had only half the space it has today, and already held 57 bodies. The emperor ordered that the bodies of two persons who had died before the Imperial Crypt opened be brought to the Ducal Crypt instead. Another person, Empress Eleanor, would normally have been entitled to space in the Imperial Crypt, but because her husband was not buried there either, her body was sent to the Ducal Crypt.\n\nIt is probably around this time that the body of Duke Albert VI was removed to make room for others, and that the body whose sarcophagus is inscribed with only the year and name of the parents arrived. Identified through other evidence as one-year-old Anna of Lorraine, it is known that her brother Charles V, Duke of Lorraine married Archduchess Eleanora Maria Josepha (1653–1697) (widowed Queen of Poland and daughter of Emperor Ferdinand III) in 1678, and that marriage may have some connection with this non-Habsburg being brought here, but the exact reason is unclear.\n\nThe last item interred here is the urn with the viscera of Archduke Franz Karl, father of Emperor Franz Joseph, in 1878.\n\nList of persons buried in the Ducal Crypt\n\nThe Ducal Crypt shelters the bodies of:\n\n \"the handsome\" son of King Albert I, father of Duke Albert II and grandfather of Duke Rudolf IV. His remains were moved here in 1782 when the Carthusian monastery he founded at Mauerbach, his original burial place, was closed during the anti-clerical reforms of Emperor Joseph II \"Sunny\".\n, second son of Duke Albert II and the 15-year-old brother of Rudolf IV.\n \"the founder,\" eldest son of Duke Albert II. Rudolf commissioned the present cathedral, and founded the University of Vienna before his death in Milan at age 25. He was originally entombed in S. Giovanni in Concha and later moved to here. The University lays a wreath on his tomb every 12 March to commemorate its founding by him.\n wife of Rudolf IV and daughter of Emperor Charles IV. After the death of Rudolf she married Otto V, Duke of Bavaria.\n \"with the pigtail,\" third son of Duke Albert II and younger brother of Rudolf IV. Died at age 46.\n son of Albert III. Died at age 27.\n oldest son of Rudolf IVs youngest brother, Leopold III.\n \"the fat\" younger son of Rudolf IVs youngest brother, Leopold III.\n\n infant son of Duke Albert V.\n Second son of Duke Ernest the Iron.\n 9-month-old son of Emperor Maximilian II.\n 15-month-old son of Emperor Maximilian II.\n one-month-old daughter of Emperor Maximilian II.\n Widow of King Charles IX of France and daughter of Emperor Maximilian II. In 1782 her body was moved here from the convent she had founded.\n young daughter of Duke Nicholas II, Duke of Lorraine, a former Cardinal.\n second wife of Emperor Ferdinand II. Her remains were moved here in 1782 from the Carmelite convent \"Siebenbüchnerinnen\" in Vienna that she had founded.\n\nGated niches in the original chamber (outside the entrance to the previous chamber) protect 62 copper urns containing the viscera (intestines) of various members of the Habsburg dynasty.\n\n Daughter of Ferdinand II, Duke of Tyrol and wife of her cousin Emperor Matthias who was 28 years older than her. She provided in her will of 1617 for the establishment of a crypt for her and her husband in a Capuchin's Church to be built in Vienna, and died only one year later, at age 33 after seven years of a childless marriage and is buried in tomb 1 in the Imperial Crypt she founded. Her heart is in urn 1 in the Herzgruft in the Augustinerkirche.\n\n Third son of Emperor Maximilian II. Once governor of the Austrian Netherlands, he wrested power over Austria, Hungary and Moravia from his inept brother Emperor Rudolf II in 1608 and inherited the rest in 1612. He died, age 62, only three months after his wife Empress Anna. He is buried in tomb 2 in the Imperial Crypt in the Kapuzinerkirche and his heart is in urn 2 in the Herzgruft in the Augustinerkirche.\n Eldest son of Archduke Charles II of Styria. He died at age 62. His heart is in urn 3 in the Herzgruft in the Augustinerkirche and he is buried in the Grazer Dom, Graz.\n Eldest son of Emperor Ferdinand III. He died two months before his 21st birthday. His heart is in urn 4 in the Herzgruft in the Augustinerkirche and he is buried in tomb 29 in the Imperial Crypt in the Kapuzinerkirche. He established the tradition of burial of different parts in three separate Vienna churches.\n Third son of Emperor Ferdinand II. He died during his 49th year and is buried in tomb 27 in the Imperial Crypt in the Kapuzinerkirche.\n Infant son of Emperor Ferdinand III. He is buried in tomb 6 in the Imperial Crypt in the Kapuzinerkirche.\n Son of Emperor Ferdinand II. Named at age 13 to take over his uncle Leopold's renounced see at Halberstaedt (when he became 22, this was confirmed by the Pope) and later became also Bishop of Olomouc, Bishop of Breslau, and Grand Master of the Teutonic Knights. He died at age 48. His heart is in urn 5 in the Herzgruft in the Augustinerkirche and he is buried in tomb 115 in the Imperial Crypt in the Kapuzinerkirche.\n Son of Emperor Ferdinand III and Empress Maria Leopoldina, who died during his birth. Bishop of Olomouc and Grand Master of the Teutonic Knights at age 13 as heir to his uncle, Archduke Leopold Wilhelm. The art collection he inherited from Archduke Leopold Wilhelm became the foundation of the Kunsthistorisches Museum. Died at age 15. He is buried in tomb 116 in the Imperial Crypt in the Kapuzinerkirche.\n Infant son of Emperor Leopold I and Empress Margarita Teresa. He is buried in tomb 7 in the Imperial Crypt in the Kapuzinerkirche.\n26 (Heart of) Archduke Ferdinand Wenzel Josef.\n Infant son of Emperor Leopold I and Empress Margarita Teresa. He is buried in tomb 8 in the Imperial Crypt in the Kapuzinerkirche.\n Infant daughter of Emperor Leopold I and Empress Margarita Teresa. She is buried in tomb 10 in the Imperial Crypt in the Kapuzinerkirche.\n Niece and first wife of Emperor Leopold I at age 15, dead at 22. Her heart is in urn 6 in the Herzgruft in the Augustinerkirche and she is buried in tomb 20 in the Imperial Crypt in the Kapuzinerkirche.\n\n Infant daughter of Emperor Leopold I and Empress Claudia Felicitas. She is buried in tomb 11 in the Imperial Crypt in the Imperial Crypt in the Kapuzinerkirche.\n Second wife of Emperor Leopold I. Her 22-year-old body, by her own request, is dressed in the habit of a Dominican nun and is entombed beside her mother in the Dominican Church in Vienna. Her heart is in urn 24 in the Imperial Crypt in the Kapuzinerkirche.\n Infant daughter of Emperor Leopold I and Empress Claudia Felicitas. Her heart is in a gold and silver urn atop her mother's sarcophagus in the Dominican Church. She is buried in tomb 12 in the Imperial Crypt in the Kapuzinerkirche.\n Third wife of Emperor Ferdinand III. She was 56 when she died. Her heart is in urn 7 in the Herzgruft in the Augustinerkirche and she is buried in tomb 19 in the Imperial Crypt in the Kapuzinerkirche.\n Infant daughter of Emperor Leopold I. She is buried in tomb 14 in the Imperial Crypt in the Kapuzinerkirche.\n35 (Heart of) Archduchess Maria Margareta\n Daughter of Emperor Leopold I. She died at age 23. Her heart is in urn 8 in the Herzgruft in the Augustinerkirche and she is buried in tomb 28 in the Imperial Crypt in the Kapuzinerkirche.\n Twelve-year-old daughter of Emperor Leopold I. Her heart is in urn 9 in the Herzgruft in the Augustinerkirche and she is buried in tomb 25 in the Imperial Crypt in the Kapuzinerkirche.\n Infant son of Emperor Joseph I. He is buried in tomb 33 in the Imperial Crypt in the Kapuzinerkirche.\n39 (Heart of) Archduke Leopold Joseph\n Sixteen-year-old daughter of Emperor Leopold I. Her heart is in urn 10 in the Herzgruft in the Augustinerkirche and she is buried in tomb 16 in the Imperial Crypt in the Kapuzinerkirche.\n\n Second son of Emperor Ferdinand III and father of Emperors Joseph I and Karl VI. He reigned 48 years. He was involved in wars ranging from the defense of western Europe against conquest by the Muslims, to the War of the Spanish Succession to place his second son on the Spanish throne when the Spanish branch of the Habsburg dynasty died out in 1700. Leopold died a few weeks before his 65th birthday. His heart is in urn 11 in the Herzgruft in the Augustinerkirche and he is buried in tomb 37 in the Imperial Crypt in the Kapuzinerkirche.\n Son of Emperor Leopold I. He died at age 33 after a short reign of six years. His heart is in urn 12 in the Herzgruft in the Augustinerkirche and he is buried in tomb 35 in the Imperial Crypt in the Kapuzinerkirche.\n Prince of Asturias. Six-month-old only son of Emperor Karl VI. He is buried in tomb 30 in the Imperial Crypt in the Kapuzinerkirche.\n44 (Heart of) Archduke Leopold Johann.\n Six-year-old youngest daughter of Emperor Karl VI. She is buried in tomb 23 in the Imperial Crypt in the Kapuzinerkirche.\n Three-years old, eldest daughter of Emperor Franz I Stephen and Empress Maria Theresa. She is buried in tomb 48 in the Imperial Crypt in the Kapuzinerkirche.\n47 (Heart of) Archduchess Marie Elisabeth.\n Younger son of Emperor Leopold I. He died at age 55 after a reign of 29 years. His heart is in urn 13 in the Herzgruft in the Augustinerkirche and he is buried in tomb 40 in the Imperial Crypt in the Kapuzinerkirche.\n Third daughter of Emperor Franz I Stephen and Empress Maria Theresa. Died at age 1 year. She is buried in tomb 53 in the Imperial Crypt in the Kapuzinerkirche.\n50 (Heart of) Archduchess Marie Caroline.\n Regent of the Austrian Netherlands. Daughter of Emperor Leopold I. Dead at age 61. Her heart is in urn 14 in the Herzgruft in the Augustinerkirche and she is buried in tomb 38 in the Imperial Crypt in the Kapuzinerkirche. The container here for her viscera is of an unusual form, being a flat box instead of the more usual pot shape.\n 26-year-old daughter of Emperor Karl VI. Her heart is in urn 15 in the Herzgruft in the Augustinerkirche and she is buried in tomb 39 in the Imperial Crypt in the Kapuzinerkirche.\n Wife (1708) of Emperor Karl VI and mother of Empress Maria Theresa. Died at age 59. Her heart is in urn 17 in the Herzgruft in the Augustinerkirche and she is buried in tomb 36 in the Imperial Crypt in the Kapuzinerkirche.\n\n Second son of Emperor Franz I Stephen and Empress Maria Theresa. Died of smallpox shortly before his 16th birthday. His heart is in urn 18 in the Herzgruft in the Augustinerkirche and he is buried in tomb 44 in the Imperial Crypt in the Kapuzinerkirche.\n Eighth daughter of Emperor Franz I Stephen and Empress Maria Theresa. Died of smallpox at age 12. Her heart is in urn 19 in the Herzgruft in the Augustinerkirche and she is buried in tomb 45 in the Imperial Crypt in the Kapuzinerkirche.\n Duke of Lorraine and Grand Duke of Tuscany. Husband of Empress Maria Theresa, he died at age 56 after nominally being Emperor for 25 years. His heart is in urn 20 in the Herzgruft in the Augustinerkirche and he is buried in tomb 55 in the Imperial Crypt in the Kapuzinerkirche.\n Eldest surviving descendant of Emperor Karl VI,→Family Tree her ascension was contested and officially the crown of the Empire went to her husband (1736) Emperor Franz I Stephen. but she held Hungary and Bohemia as Queen in her own right. Dying at age 63, her forty years' reign is thought of by the Austrians as the British think of Queen Victoria: the golden years of power, prestige and empire. Her heart is in urn 21 in the Herzgruft in the Augustinerkirche and she is buried in tomb 56 in the Imperial Crypt in the Kapuzinerkirche.\n Infant first daughter of Emperor Franz II and Empress Maria Theresia. Her heart is in urn 22 in the Herzgruft in the Augustinerkirche and she is buried in tomb 66 in the Imperial Crypt in the Kapuzinerkirche.\n\n Third son of Empress Maria Theresia. →Family Tree Most of his career was spent in Florence, reforming the governance there as Grand Duke of Tuscany, and only his final two years were as Emperor. He died at age 45. His heart is in urn 23 in the Herzgruft in the Augustinerkirche and he is buried in tomb 113 in the Imperial Crypt in the Kapuzinerkirche.\n Originally contracted to marry Empress Maria Theresia's second son, Archduke Karl Joseph, his early death diverted her instead to the third son, who later became Emperor Leopold II. In the course of 21 years, she bore her not-always-faithful husband 16 children, among them Emperor Franz II, and Archduke Karl the victor of Aspern. Grieving for her husband, she outlived him by only two months leaving many small children. Her 46-year-old heart is in urn 24 in the Herzgruft in the Augustinerkirche and she is buried in tomb 114 in the Imperial Crypt in the Kapuzinerkirche.\n Infant daughter of Emperor Franz II and Maria Theresia. Her heart is in urn 25 in the Herzgruft in the Augustinerkirche and she is buried in tomb 95 in the Imperial Crypt in the Kapuzinerkirche.\n Fourth son of Emperor Leopold II and Empress Maria Ludovika. Palatine of Hungary. Died at 23. His heart is in urn 26 in the Herzgruft in the Augustinerkirche and he is buried in tomb 64 in the Imperial Crypt in the Kapuzinerkirche.\n Favorite daughter of Empress Maria Theresia. Wife of Duke Albert of Teschen. The famous and moving monument he erected to her memory is in the Augustinerkirche. She died of Typhus at age 56. Her heart is in urn 28 in the Herzgruft in the Augustinerkirche and she is buried in tomb 112 in the Imperial Crypt in the Kapuzinerkirche.\n Daughter of Emperor Leopold II and Empress Maria Ludovika. Died at 18. Her heart is in urn 27 in the Herzgruft in the Augustinerkirche and she is buried in tomb 65 in the Imperial Crypt in the Kapuzinerkirche.\n Fourth daughter of Emperor Franz II and Maria Theresia. Died at 3. Her heart is in urn 29 in the Herzgruft in the Augustinerkirche and she is buried in tomb 87 in the Imperial Crypt in the Kapuzinerkirche.\n Youngest son of Empress Maria Theresia. Grand Master of the Teutonic Knights, Bishop of Münster and Elector-Archbishop of Cologne. Died at 45. His heart is in urn 30 in the Herzgruft in the Augustinerkirche and he is buried in tomb 118 in the Imperial Crypt in the Kapuzinerkirche.\n Daughter of Ferdinand III, Grand Duke of Tuscany and Luisa Maria Amelia Teresa of Naples. Died at 9. Her heart is in urn 31 in the Herzgruft in the Augustinerkirche and she is buried in tomb 79 in the Imperial Crypt in the Kapuzinerkirche.\n Daughter of Queen Maria Karolina of Naples and Sicily. First wife (1790) of Ferdinand III, Grand Duke of Tuscany →Family Tree. Died in childbirth at 29. Her heart is in urn 32 in the Herzgruft in the Augustinerkirche and she is buried along with her stillborn son in tomb 84 in the Imperial Crypt in the Kapuzinerkirche.\n Fourth son of Empress Maria Theresia. Governor of Lombardy and, later, the Austrian Netherlands. Founder of the House of Austria-Este. His 52-year-old heart is in urn 34 in the Herzgruft in the Augustinerkirche and he is buried in tomb 105 in the Imperial Crypt in the Kapuzinerkirche.\n Second wife (1790) at age 18 of Emperor Franz II. Mother of Empress Maria Louise (second wife of Napoleon), Emperor Ferdinand, and all subsequent children of her husband. Because her mother was a sister of her husband's father the couple were first cousins. →Family Tree (ancestors) She died at age 34 of tuberculous pleurisy. Her heart is in urn 35 in the Herzgruft in the Augustinerkirche and she is buried in tomb 60 in the Imperial Crypt in the Kapuzinerkirche.\n Second son of Emperor Franz II and Empress Maria Theresia. Died at 18. His heart is in urn 36 in the Herzgruft in the Augustinerkirche and he is buried in tomb 69 in the Imperial Crypt in the Kapuzinerkirche.\n Fourth son of Emperor Franz II and Empress Maria Theresia. Died at 4. His heart is in urn 37 in the Herzgruft in the Augustinerkirche and he is buried in tomb 71 in the Imperial Crypt in the Kapuzinerkirche.\n Daughter of Empress Maria Theresia. Wife of King Ferdinand I of the Two Sicilies. Her heart is in urn 38 in the Herzgruft in the Augustinerkirche and she is buried in tomb 107 in the Imperial Crypt in the Kapuzinerkirche.\n\n Third wife (1808) at age 20 of 40-year-old cousin Emperor Franz II, she contracted tuberculosis shortly after their wedding, suffering from it for the eight years of marriage before dying at age 28. Her heart is in urn 39 in the Herzgruft in the Augustinerkirche and she is buried in tomb 58 in the Imperial Crypt in the Kapuzinerkirche.\n Husband of Archduchess Maria Christina. The Albertina museum, in his former palace, is named for him because his collection of paintings formed the nucleus of the museum. The oldest of those represented here, he died at age 84. His heart is in urn 40 in the Herzgruft in the Augustinerkirche and he is buried in tomb 111 in the Imperial Crypt in the Kapuzinerkirche.\n Twenty-one-year-old son of Napoléon Bonaparte and Empress Maria Louise (daughter of Emperor Franz II.) His heart is in urn 42 in the Herzgruft in the Augustinerkirche. His body was originally buried in the Imperial Crypt in the Kapuzinerkirche but in 1940, on the orders of Adolf Hitler, it was moved to Les Invalides in Paris to rest with his father's.\n First son of Emperor Franz II. Mentally retarded, he abdicated after a nominal reign of 12 years and spent the remainder of his 82-year-long life in Prague. His heart is in urn 53 in the Herzgruft in the Augustinerkirche and he is buried in tomb 62 in the Imperial Crypt in the Kapuzinerkirche.\n Third son of Emperor Franz II. When his elder brother Emperor Ferdinand abdicated in 1848, he stood aside so that his son, Emperor Franz Joseph, could succeed to the throne instead. Great grandfather of the last reigning emperor, Emperor Karl I. Aged 76 when he died, his viscera are the last interred here, and his heart was the last to be placed in the Herzgruft in the Augustinerkirche, where it occupies urn 54. He is buried in tomb 135 in the Imperial Crypt in the Kapuzinerkirche.\n\nSee also\nImperial Crypt\nHerzgruft\n\nReferences\n (in German)\n \n\nBuildings and structures in Innere Stadt\nTourist attractions in Vienna\nCemeteries in Vienna\nSarcophagi\nBurial sites of the House of Habsburg\nSt. Stephen's Cathedral, Vienna",
"Morris Bidwell was a 17th-century Puritan preacher. He is known to have lived for some years in Swansea, where he held an appointment at St. Mary's, and held an interest in the Puritan School.\n\nHe is believed to have died before the year 1660, and to be buried at St. Mary's.\n\nReferences\n\nWelsh religious leaders\n17th-century English Puritans\n17th-century deaths"
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[
"Seattle Slew",
"Retirement and legacy",
"When did he retire?",
"25 years to the day after he won the Kentucky Derby, Seattle Slew died in his sleep at age 28.",
"What was the reaction to his death?",
"He was buried whole, the highest honor for a winning race horse,",
"Where is he buried at?",
"in the courtyard at Hill 'N' Dale Farm near Lexington, Kentucky, with his favorite blanket and a bag of peppermints which he liked to eat."
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What were some highlights?
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What were some highlights of Seattle Slew's life?
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Seattle Slew
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Seattle Slew stood at stud at Spendthrift Farm in Lexington for seven years, before moving to Three Chimneys Farm in Midway in 1985. He was the leading sire of 1984, when his son Swale (who died later that year) won the Kentucky Derby and Belmont Stakes. His other progeny include the talented, ill-fated 1982 champion two-year-old filly, Landaluce, Slew o' Gold (winner of the 1983 Eclipse Award for Outstanding Three-Year-Old Male Horse and the 1984 Eclipse Award for Outstanding Older Male Horse), 1992 Horse of the Year A.P. Indy and the 2000 champion three-year-old filly Surfside. He is part of a unique three generation sequence of Belmont Stakes Winners: Seattle Slew (1977) - A.P. Indy (1992) - Rags to Riches (2004). The primary conduit for Seattle Slew's continuation of his male line has been through A.P. Indy. A.P. Indy has done well at stud in Kentucky, siring (among others) the 2003 Horse of the Year, Mineshaft. One of Seattle Slew's most successful grandsons is the California champion Lava Man (sired by Slew City Slew). In 2006, Lava Man became the first horse to win the Santa Anita Handicap, Hollywood Gold Cup and Pacific Classic Stakes in the same year. Seattle Slew was also a leading broodmare sire, his daughters producing (among others) Cigar (leading North American money-earner of his day). Races in honor of his dam, My Charmer, include the My Charmer Handicap held at Florida's Calder Race Course annually and the My Charmer Stakes held at Kentucky's Turfway Park. Rags to Riches, a granddaughter, won the 2007 Belmont Stakes - the third filly to win the race, after Ruthless in 1867 and Tanya in 1905. The victory earned jockey John Velazquez and trainer Todd Pletcher their first wins in any Triple Crown race. Rags To Riches was the 22nd filly to run in the Belmont. In 2002, ESPN telecast a "SportsCentury" on Seattle Slew. In 2014, Seattle Slew's great-great grandson, California Chrome, won the Kentucky Derby and the Preakness. California Chrome was the second Kentucky Derby winner in a row who was a sire-line descendant of Seattle Slew, following Orb in 2013. California Chrome's bid for the Triple Crown was defeated by another great-grandson of Seattle Slew, Tonalist, by leading sire Tapit. Tapit also sired the winners of the 2016 and 2017 Belmont Stakes, Creator and Tapwrit respectively. 25 years to the day after he won the Kentucky Derby, Seattle Slew died in his sleep at age 28. He was buried whole, the highest honor for a winning race horse, in the courtyard at Hill 'N' Dale Farm near Lexington, Kentucky, with his favorite blanket and a bag of peppermints which he liked to eat. Three Chimneys Farm erected a statue of Seattle Slew near the stallion barn in his honor. Since fellow Triple Crown winner and rival Affirmed had died the year before, he was the sole living Triple Crown winner. At the horse's death, there were no living Triple Crown winners for the first time since Sir Barton won the first Triple Crown in 1919. This phenomenon continued until American Pharoah's Triple Crown in 2015. CANNOTANSWER
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Three Chimneys Farm erected a statue of Seattle Slew near the stallion barn in his honor.
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Seattle Slew (February 15, 1974 – May 7, 2002) was a champion American Thoroughbred racehorse who became the tenth winner of the American Triple Crown (1977). He is one of only two horses to have won the Triple Crown while being undefeated in any previous race; the second was Justify who won the Triple Crown in 2018 and is descended from Seattle Slew. Seattle Slew was the 1977 Horse of the Year and a champion at ages two, three, and four. In the Blood-Horse magazine List of the Top 100 U.S. Racehorses of the 20th Century Seattle Slew was ranked ninth.
Joe Hirsch of the Daily Racing Form wrote of Seattle Slew's three-year-old campaign: "Every time he ran he was an odds-on favorite, and the response to his presence on the racetrack, either for a morning workout or a major race, was electric. 'Slewmania' was a virulent and widespread condition."
Seattle Slew later became an outstanding sire and broodmare sire, leading the North American sire list in 1984 when his son Swale won the Kentucky Derby and Belmont Stakes. Another son, A.P. Indy, won the Belmont Stakes and continued the sire line through descendants such as Mineshaft, Tapit, and California Chrome.
Background
Seattle Slew was a dark bay horse with a small white patch of hair by his left rear hoof. He was bred by Ben S. Castleman, a Kentucky racing commissioner, and was foaled at White Horse Acres near Lexington, Kentucky. Seattle Slew was the first foal out of My Charmer, a stakes-winning daughter of the otherwise obscure sire Poker. My Charmer went on to produce the 2000 Guineas winner Lomond and Seattle Dancer, and several of her daughters became outstanding producers. My Charmer descends from champion and noted “blue hen” Myrtlewood. Castleman originally intended to breed My Charmer to Jacinto but that stallion's book was full so Seth Hancock of Claiborne Farm recommended the mare be bred instead to Bold Reasoning, a first-crop sire who had won the Jersey Derby and Withers Stakes in 1971. Bold Reasoning was a grand-son of Bold Ruler, whose descendants, including Secretariat, dominated the Kentucky Derby in the 1970s.
Seattle Slew was not considered particularly attractive as a foal, leading some to say he looked like a mule. He was so awkward that his first nickname was Baby Huey. As he matured though, he developed a graceful front-running style with an acceleration that was compared to "a falcon in a dive." At maturity, he stood high at the withers with strong hind legs and a powerful shoulder. However, his right forefoot was noticeably turned out.
Seattle Slew was purchased for just $17,500 (equivalent to $ in ) at the 1975 Fasig-Tipton yearling auction. His new owners, later known as "the Slew Crew", were Karen and Mickey Taylor and Jim and Sally Hill. Horse owners since the early 1970s, Karen Taylor was a former flight attendant, and her husband, Mickey Taylor, was a lumberman. They lived in White Swan, Washington. Jim Hill, a veterinarian, picked out Seattle Slew at the sale, though the original budget was only $12,000. Karen Taylor, liking the look of the colt, urged her husband to go higher. They named the colt for the city of Seattle and the sloughs which loggers once used to transport heavy logs. Karen felt that the pronunciation of slough — a slow-moving channel of the Pacific Northwest — would be too hard for people to remember, so the spelling was changed to Slew. A later co-owner was Glenn Rasmussen, the accountant for the equine partnerships.
Seattle Slew's owners sent the colt to Billy Turner, a friend and former steeplechase rider who had trained horses seasonally in Maryland since the early 1960s. Based at Belmont Park in the mid-1970s, Turner accepted Seattle Slew and another Taylor-Hill purchase and sent them to Andor Farm in Monkton, where his wife at the time, Paula, taught yearlings to be ridden.
Seattle Slew was described as "intelligent, dominant and determined." "He was very easygoing," Turner said. "He liked people but he wasn't lovey dovey. He didn't like people petting him. He was the boss hoss. He would stand back and just look at you. He would let you do whatever you wanted him to do, but only if he wanted to do it."
Racing career
1976: two-year-old season
Seattle Slew's debut was delayed by his initial awkwardness, but he started to attract attention over the course of the summer at Saratoga with some fast workouts. Taylor later recalled that the colt had been timed in a brilliant time of 33 seconds for three-eighths of a mile, but the clocker instead recorded the time as 36 seconds because he felt people wouldn't believe the right figure. Slew was set to make his first start at the end of August but injured himself in his stall. He finally made his first start in a six-furlong maiden race on September 20, 1976, the fifth race at Belmont Park. The big, nearly black colt was bet down to the 5–2 favorite. He gave the public its first look at what was later called his "war dance" (his habit of tiptoeing on the track before his races) and won by five lengths. He followed up in seven-furlong allowance race on October 5, 1976, winning by lengths.
On October 16, Taylor stepped the colt up in class to enter the Grade I Champagne Stakes, then the most important race for two-year-olds in the United States. His biggest rival was For the Moment, who had won four straight races including the Belmont Futurity and was a full-brother to champion Honest Pleasure. Nonetheless, Seattle Slew went off as the almost even-money favorite. Jockey Jean Cruguet sent him straight to the lead and opened up a lead down the backstretch. None of the other riders chose to challenge him, perhaps believing the colt would tire down the stretch. Instead Seattle Slew continued to draw away, eventually winning by lengths in a time of 1:34 for one mile, then a stakes record.
Despite starting just three times, Seattle Slew was named Champion Two-Year-Old of 1976.
1977: three-year-old season
Turner scheduled three races for Seattle Slew leading up to the Kentucky Derby, which was then considered to be a light campaign. Turner felt that the main threat to Seattle Slew was his health, because the horse ran so fast and hard every time. Hill later said that Turner used the prep races as workouts and did as little as possible in between. Turner scheduled only 19 breezes for Seattle Slew before and during his Triple Crown campaign, instead trying to get the colt to relax.
Seattle Slew's first start came as a three-year-old in an allowance race on March 9, 1977 at Hialeah Park Race Track. Going off at odds of 1-10, he dueled with White Rammer for the early lead while completing the first quarter-mile in a swift 22 seconds. He kept up the pace, completing the half-mile in 44 seconds and six furlongs in 1:08 flat (which would have been a new track record). Eased in the final sixteenth of a mile, he still set a seven-furlong track record of 1:20 in winning by nine lengths. Despite the ease of the win, Turner was concerned, fearing the colt was using too much energy early in his races to withstand the challenge of the longer races to come.
On March 26, Seattle Slew entered the Flamingo Stakes, where he went off at odds of 1-5. He set his own pace and opened a large lead moving into the final turn. He was eased down the stretch but still won by four lengths in a time of 1:47 for miles – the third-fastest time in the stakes' 51-year history.
He then shipped north to Aqueduct Racetrack in New York, where he became the subject of intense media scrutiny. His owners considered entering him in the Gotham Stakes on April 9 but Turner was against it because heavy rains had rendered the main track unusable, meaning the colt had not been able to properly work out. Instead, Seattle Slew made his third start of the year on April 23 in the Wood Memorial Stakes. Going off as the 1-10 favorite, he went to the early lead, challenged by Fratello Ed. Cruguet got the colt to relax and they set sensible fractions, then coasted to a length win. The time of 1:49 was considered unimpressive, but his connections were pleased by the horse's demeanor. "He doesn't have to run the way he has before," said Cruguet. "He was never really pressed."
Kentucky Derby
The "Slew Crew" then relocated to Churchill Downs where the Taylors set up a camper opposite the colt's stall in Barn 42, which traditionally houses the favorite for the Kentucky Derby. With Mickey Taylor's father acting as chief bodyguard for the colt, the connections dealt with a constant stream of visitors. Showing his growing maturity, Seattle Slew remained relaxed throughout the week leading up to the race. His training did not go entirely to expectations however when he posted an uncharacteristically slow workout the Sunday before the race. Turner planned to sharpen the colt with a five-furlong breeze on the Thursday before the race but the track came up muddy. Seattle Slew's final workout was a three-furlong breeze in 34 seconds the morning before the Derby was held.
The 1977 Kentucky Derby was held on May 7 before a crowd of 124,028. The track was rated as fast despite showers earlier in the day. Seattle Slew was the heavy favorite at odds of 1-2 but still faced a large field as many felt the colt would be vulnerable at the Derby's distance of miles. The second choice was Run Dusty Run, who had been the second-ranked two-year-old and had run second in several major Derby prep races. For the Moment was also given a strong chance after winning the Blue Grass Stakes.
In reaction to the crowd noise, Seattle Slew washed out in the paddock and again during the post parade. Cruguet did little to warm up the colt, instead taking him away from the crowd to relax. He had drawn post position three, and had to wait in the starting gate for the rest of the field to load. Slew reacted slowly at the break then swerved nearly sideways and found himself trapped near the back of the field. He reacted by charging through the field, bumping several other horses who were in his way. After two furlongs, he had worked his way into second place just behind For the Moment. The two colts then dueled around the first turn before Cruguet got Seattle Slew to relax down the backstretch, under a tight restraint, allowing For the Moment to open up a lead of a length. For the Moment completed the first three-quarters of a mile in 1:10, then was joined again by Seattle Slew as they moved around the final turn. At the top of the stretch, Cruguet went to the whip and Seattle Slew pulled away by 4 lengths, then shut down in the final eighth of a mile to win by lengths over Run Dusty Run.
The colt still had his detractors. The final time of 2:02 was considered slow, particularly as the final quarter mile was run in 26 seconds. Turner pointed to the interruptions in the colt's training. "Because of the circumstances, he was somewhat undertrained. You knew it, and I knew it," he said.
Seattle Slew was visibly upset after the race. "It was the only time I was scared of him," said his groom, John Polston. "He was so high-strung that night, he was evil, just evil. I couldn't believe how wound tight he was. It was like he hadn't even been in a race. I had to take him from the hotwalker and he ran over me a couple of times. I'd never seen him like that before."
Preakness Stakes
Two weeks later, in the 1-mile Preakness Stakes, Seattle Slew faced a new rival in multiple-stakes-winner Cormorant. Many handicappers believed a predicted speed duel with Cormorant would jeopardize the Derby winner's chances; Andrew Beyer picked Cormorant to win in his Washington Post column. Other highly rated contenders were J. O. Tobin, the English champion two-year-old colt of 1976, and Iron Constitution, who had won the Withers Stakes. For the first time, Turner chose to have the colt given butazolidin before the race, fearing that Seattle Slew might suffer a minor injury in his final workout.
Seattle Slew broke from post position 8 with Cormorant to his inside on a track with a definite bias for runners on the rail. As expected, the two battled for the early lead, sprinting nearly ten lengths clear of the rest of the field while setting fast fractions of 22 seconds for the first quarter-mile and 45 for the first half. Around the far turn, Seattle Slew started to open up a lead while completing the mile in 1:34. Cruguet then eased up on the colt down the stretch, allowing Iron Constitution to close to within 1 lengths. The final time of 1:54 was one of the fastest in the history of the race, especially notable as the track was considered to be somewhat dead.
Belmont Stakes
Seattle Slew trained well during the three weeks between the Preakness and Belmont Stakes, showing a new level of determination according to Turner. During one of his final workouts, Slew was pulled up early by his exercise rider. "He was afraid he could not hold him," said Turner. "I had warned the outriders, too. This horse might have gone around two or three times."
The 1977 Belmont Stakes was run on June 11 on a muddy track before a crowd of 70,229, with eight rivals facing Seattle Slew. Turner arrived late at the saddling enclosure, due in part to the number of cars parked on the backstretch, as well as his desire to limit the colt's exposure to the enthusiastic crowd. "Turner was fined," said Sally Hill later. "We paid the fine. They weren't going to start the race without him."
Going off at odds of 2-5, Seattle Slew went to the early lead. Though pressed at first by Spirit Level and then Run Dusty Run, he was able to relax, completing the opening mile in a leisurely 1:38. Spirit Level and Run Dusty Run closed down the gap around the far turn, and then Sanhedrin made a strong run to move into second place, raising concerns about Slew's ability to complete the distance. Seattle Slew responded to the challenge in the final quarter-mile when he opened up daylight between himself and the rest of the field. Down the stretch, Cruguet tapped him with the whip a few times to keep the colt's mind on the race and Seattle Slew won comfortably by four lengths over Run Dusty Run. He became the tenth American Triple Crown winner and (with his nine-for-nine record) was the first Triple Crown winner to finish the series undefeated.
Cruguet stood up in the stirrups and raised his right hand triumphantly some 20 yards before the finish line, leading some to criticize him for the "emotional flourish". Cruguet described his feelings as "happiness, just happiness" before hurrying off to ride in the next race. Turner was harder hit. "I ducked into a stall and broke down and cried," he said. "It was such a relief, because the pressure was off."
Aftermath
After the Triple Crown, Seattle Slew was sent to Hollywood Park Racetrack, which increased the purse for the Swaps Stakes to over $300,000 to lure him to run on July 3. In the Swaps, Seattle Slew was unable to get to the front as jockey Bill Shoemaker sent J.O. Tobin to the lead. J.O. Tobin set fast early fractions for a -mile race – 22 for the first quarter-mile, 45 for the half, 1:09 for six furlongs and 1:33 for the mile. Seattle Slew, boxed in for much of the race with Text to his side, eventually broke free but tired badly in the stretch. He finished fourth, 16 lengths behind J.O. Tobin, who won in a stakes record of 1:58, just two-fifths off the world record for the distance at that time.
The race was the cause of much controversy. Before shipping to California, Seattle Slew had been sedated repeatedly to be used in a Xerox advertising campaign for a new X-ray machine, then was sedated again during the flight. Turner believed this contributed to Seattle Slew's dull effort. Turner also said that he had disagreed with the decision to ship to California at all, feeling the colt needed more time to recover from the Triple Crown. The owners said that Turner had not raised objections prior to the race, and further that Turner's drinking problems were putting the horse at risk. At the end of the year, Turner was fired and replaced by Douglas Peterson.
Meanwhile, Seattle Slew was given time off to recover, then resumed training in August for a fall campaign. However, he was sidelined by a suspension to Hill, whose ownership share had been previously undisclosed. Despite the disappointing end to the season, Seattle Slew was the easy winner in the voting for champion three-year-old at the annual Eclipse Awards. The voting for American Horse of the Year honors was closer, with Seattle Slew prevailing over Forego by 105 votes to 84.
1978
In early 1978, Seattle Slew was stabled at Hialeah and was expected to make three or four starts in Florida, followed by a full campaign in New York's major stakes races. He was scheduled to make the first start of his four-year-old campaign on January 16, 1978 in the Tallahassee Handicap. However, he was scratched from the race on January 14 when he lost his appetite and was found to have a fever of 102. His condition then went quickly downhill, marked by weakness, dehydration and a sharp decrease in his white blood cell count. It was later revealed that his jugular vein had collapsed when a pre-race injection of butazolidin missed the vein.
While Seattle Slew slowly recovered, his owners contemplated retiring him to stud. Instead, they kept him in training for 1978 while syndicating him for a then-record $12 million. The Taylor and Hill families retained 50% of the shares while Brownwell Combs of Spendthrift Farm headed the syndication group.
Seattle Slew eventually returned to training and was shipped north to Aqueduct, which held "Seattle Slew day" on April 29. A crowd of 25,931 cheered while Seattle Slew was led around the paddock and then taken on track for a six-furlong workout, completed handily in 1:10. On May 14, Seattle Slew returned to racing in a seven-furlong allowance race. Over an extremely muddy track, he settled in second place behind Gallant Bob for the first quarter-mile, then started to open up on the field, eventually winning by lengths. Despite the adverse track conditions and never being urged by Cruguet, his time was a "brisk" 1:22.
Seattle Slew was being pointed to the Metropolitan Handicap at the end of May but suffered another setback when a filling in his left hind leg was discovered. The problem was thought to be minor, but it was not until August that he made his next start. This was in a seven-furlong allowance race at Saratoga Race Course, which he won by six lengths in 1:21 over a sloppy track.
In preparation for his fall campaign, Seattle Slew was sent to the Meadowlands on September 5 for a night race, the Paterson Handicap at a distance of miles. He went off as the 1-5 favorite despite being assigned 128 pounds. His main rival was Dr. Patches, who had an excellent record at the Meadowlands and was carrying only 114 pounds. Seattle Slew went straight to the lead and set fast early fractions. Turning for home though, Dr. Patches made his move and slowly drew past. Seattle Slew tried to fight back but lost by a neck in a major upset. Jean Cruguet lost the mount after the race, after expressing doubt if the horse had been sufficiently trained.
Marlboro Cup
The 1978 Marlboro Cup, run on September 16, was the first time that two Triple Crown winners raced each other. Affirmed had won the Triple Crown in a thrilling showdown with Alydar, and had won all but one of his starts that year, that loss coming by disqualification. Taylor was not concerned by Affirmed's reputation. "We've watched every one of his races this year and watched them carefully," he said. "He's an outstanding horse, but so is Slew. Affirmed had better be ready when the Marlboro Cup comes up, because he's going to see one big, black butt in front of him."
For the only time in his career, Seattle Slew was not the favorite, going off at 2-1 compared to Affirmed at 1-2. Affirmed and Seattle Slew were both known as front-runners but Seattle Slew's new jockey Angel Cordero Jr. felt that Affirmed had benefited from setting slow early fractions in his early races. He sent Seattle Slew to the lead and completed the first quarter in an easy 24 seconds, then picked up the pace down the backstretch to complete the half-mile in 47 seconds with Affirmed two lengths behind. Rounding the final turn into the stretch, Cordero allowed Slew to swing wide. Affirmed came up on the inside, but Seattle Slew responded to beat Affirmed by three lengths, with the third-place horse a further five lengths back. He completed the distance of miles in a time of 1:45, just two-fifths of a second off the world record set by Secretariat in the 1973 Marlboro Cup.
"I knew when we were able to go to the lead that we could win it," Cordero said. "Slew is such a nice horse and I was able to relax him on the backstretch. There isn't a horse in the world that could have beaten him today."
Woodward Stakes
Two weeks later, Seattle Slew was entered in the Woodward Stakes, then held at Belmont Park over the American classic distance of miles. Affirmed skipped the race, making Exceller the main contender in a field of five. Seattle Slew coasted through the first quarter in seconds, then picked up the pace under slight pressure from Exceller, normally known for his closing kick. Turning for home, Cordero used the whip twice and Seattle Slew drew off to win by four lengths. His time of 2 minutes flat for miles was a Belmont course record for a race started on the turn. (At that time, 10 furlong races at Belmont were normally started in a chute, allowing the horses to run straight for about half the race. However, the chute was under repair in 1978). The winnings from the race made Seattle Slew the 23rd horse in racing history to earn a million dollars.
Jockey Club Gold Cup
In October, Seattle Slew and Affirmed met again in the -mile Jockey Club Gold Cup at Belmont, which was televised nationally on the CBS network. Affirmed's trainer, Laz Barrera, did not want Seattle Slew to get an easy lead and dictate the pace as he had in the Marlboro Cup, so Barrera also entered a "rabbit" (Life's Hope) in an attempt to tire Slew. Seattle Slew ran in fractions of 22 for the first quarter, 45 for the half and 1:09 for three-quarters – extremely fast early times for a long race. Life's Hope dropped back, then Affirmed also faltered, having raced too close to the pace. Affirmed's problems were compounded when his saddle slipped.
Meanwhile, Bill Shoemaker on Exceller took advantage of the fast pace. Far back early, Exceller made a strong move on the far turn and saved ground by moving inside Seattle Slew as the tiring horse bore out turning for home. Exceller took the lead at the top of the stretch, and opened a half-length lead in midstretch. Seattle Slew fought back and lost by a nose in a photo finish. This stretch run is still remembered as among the all-time best, ranking with Sunday Silence and Easy Goer's Preakness in 1989 and the battles between Affirmed and Alydar. Despite the defeat, many analysts considered this to be Seattle Slew's greatest performance. Andrew Beyer (a Seattle Slew skeptic when the horse was a three-year-old) wrote for his lead, "Exceller was the winner of yesterday's Jockey Club Gold Cup, Seattle Slew was its hero."
Stuyvesant Handicap
Seattle Slew's last race was in the Stuyvesant Handicap on November 11 at Aqueduct Racetrack. He was assigned the high weight of , conceding his rivals from 19 to 27 pounds. As the 1-10 favorite, he went to the early lead and was never challenged, winning by lengths. He completed the -mile race in 1:47, just off the track and stakes record set by Riva Ridge in 1973. Watching the race were Turner and Cruguet, who both expressed regret that they'd had to part ways with the horse. "Even now," said Cruguet, "he should be undefeated."
Seattle Slew retired with 14 wins in 17 races and earnings of $1,208,726. He was named Champion Older Horse in 1978 but lost the Horse of the Year balloting to the horse he defeated in the Marlboro Cup, Affirmed.
Statistics
An asterisk before the odds means that Seattle Slew was the post-time favorite.
Source: Daily Racing Form
Stud career
Seattle Slew stood at stud at Spendthrift Farm in Lexington for seven years, before moving to Three Chimneys Farm in Midway in 1985. He was the leading sire of 1984, when his son Swale (who died later that year) won the Kentucky Derby and Belmont Stakes. He is part of a unique three generation sequence of Belmont Stakes Winners: Seattle Slew (who won the race in 1977) sired A.P. Indy (1992) who in turn sired Rags to Riches. Rags to Riches was just the third filly to win the race, after Ruthless in 1867 and Tanya in 1905. The victory earned jockey John Velazquez and trainer Todd Pletcher their first wins in any Triple Crown race.
Seattle Slew sired 1,103 named foals, of which 537 (48.7%) were winners and 111 (10.1%) were stakes winners. Major winners by Seattle Slew include:
A.P. Indy – Belmont Stakes, Breeders' Cup Classic, 1992 Horse of the Year (USA) and champion three-year-old, Hall of Fame inductee
Adored – Santa Margarita, Delaware Handicap
Capote – Breeders' Cup Juvenile
Fleet Renee – Ashland, Mother Goose
Flute – Kentucky Oaks
Hail Atlantis – Santa Anita Oaks
Lakeway – Santa Anita Oaks, Hollywood Oaks, Mother Goose
Landaluce – Oak Leaf Stakes, Champion two-year-old filly
Life at the Top – Mother Goose
Magic of Life – Coronation Stakes
Seattle Song – Prix de la Salamandre, Washington DC International
Septieme Ciel – Prix de la Forêt
Slew City Slew – Oaklawn Handicap, Gulfstream Park Handicap
Slew o' Gold - multiple stakes winner including Jockey Club Gold Cup (twice), Woodward Stakes (twice), Marlboro Stakes, Wood Memorial. Champion three-year-old (1983) and champion older horse (1984). Hall of fame inductee
Slewpy – Young American Stakes, Meadowlands Cup
Surfside – multiple stakes winner including Frizette and Santa Anita Oaks. Champion three-year-old filly (2000)
Swale – Kentucky Derby and Belmont Stakes
Taiki Blizzard – Yasuda Kinen
Vindication – Breeders' Cup Juvenile, Champion Two-Year-Old Colt of 2002
The primary conduit for the continuation of Seattle Slew's male line has been through A.P. Indy, who was the leading sire in North America of 2003 and 2006. A.P. Indy sired the 2003 Horse of the Year, Mineshaft, Preakness Stakes winner Bernardini and Belmont Stakes winner Rags to Riches. A.P. Indy's grandsons include Tapit. the leading North American sire in 2014, 2015 and 2016. Slew City Slew was also a good sire, whose sons include California champion Lava Man. In 2006, Lava Man became the first horse to win the Santa Anita Handicap, Hollywood Gold Cup and Pacific Classic Stakes in the same year.
In 2014, Seattle Slew's great-great grandson, California Chrome, won the Kentucky Derby and the Preakness. California Chrome was the second Kentucky Derby winner in a row who was a sire-line descendant of Seattle Slew, following Orb in 2013. California Chrome's bid for the Triple Crown was defeated by another great-grandson of Seattle Slew, Tonalist, by Tapit. Tapit also sired the winners of the 2016 and 2017 Belmont Stakes, Creator and Tapwrit respectively.
Seattle Slew was also a notable broodmare sire, leading the North American list in both 1995 and 1996. His daughters produced (among others) Cigar, the leading North American money-earner of his day.
Legacy
Seattle Slew underwent spinal fusion surgery at Rood and Riddle Equine Hospital for a neurological condition in 2000, followed by a second surgery in 2002. Upon recovery from the second surgery, he was moved to Hill 'n' Dale Farm to recover: his old stall at Three Chimney's was too close to the breeding shed, and he became agitated whenever mares arrived at the farm.
On May 7, 2002, 25 years to the day after he won the Kentucky Derby, Seattle Slew died in his sleep at age 28. He was buried whole at Hill 'n' Dale, the highest honor for a winning race horse, with his favorite blanket and a bag of peppermints. Three Chimneys Farm erected a statue of Seattle Slew near the stallion barn in his honor. Since fellow Triple Crown winner and rival Affirmed had died the year before, he had been the sole living Triple Crown winner. At the horse's death, there were no living Triple Crown winners for the first time since Sir Barton won the first Triple Crown in 1919. This phenomenon continued until American Pharoah's Triple Crown in 2015.
The Taylors remained close to Seattle Slew throughout his life and were with him at the time of his death. "He had the greatest heart," said Karen Taylor. "He was a fighter to the end." John Sikura of Hill 'n' Dale commented, "To be near greatness is what everyone in this business aspires to, and it happens so rarely. He was one in a million, and showed us there is that possibility in a game of impossibilities."
Seattle Slew was inducted into the National Museum of Racing and Hall of Fame in 1981. In the BloodHorse magazine's listing of the top 100 American thoroughbreds of the twentieth century, he was ranked ninth. A British publication, A Century of Champions, ranked him fourth among North American racehorses. In 2002, ESPN telecast a "SportsCentury" on Seattle Slew.
The book Seattle Slew, by Steve Cady and Barton Silverman, was released by Penguin Books in 1977. In 2000, the Eclipse Press released another book of the same title, written by Dan Mearns as part of the Thoroughbred Legends series.
In 2015, the state of Kentucky starting issuing a license plate bearing Seattle Slew's image, based on a photograph by Tony Leonard. Proceeds benefit the Kentucky Equine Education Project Foundation (KEEP).
Pedigree
Seattle Slew was inbred 4 x 4 to the stallion Nasrullah, meaning that Nasrullah appears twice in the fourth generation of his pedigree. His dam My Charmer was inbred 4 x 4 to both War Admiral and Baby League (a daughter of the highly influential broodmare La Troienne) through the full sisters Striking and Busher.
See also
A.P. Indy
Exceller
Three Chimneys Farm
References
Further reading
External links
Seattle Slew's Official Website
Seattle Slew's Kentucky Derby page
Seattle Slew profile at the National Museum of Racing and Hall of Fame
1974 racehorse births
2002 racehorse deaths
Racehorses trained in the United States
Horse racing track record setters
Racehorses bred in Kentucky
United States Thoroughbred Racing Hall of Fame inductees
Kentucky Derby winners
Triple Crown of Thoroughbred Racing winners
Eclipse Award winners
American Thoroughbred Horse of the Year
Preakness Stakes winners
Belmont Stakes winners
United States Champion Thoroughbred Sires
American Champion Thoroughbred broodmare sires
American Grade 1 Stakes winners
Thoroughbred family 13-c
Chefs-de-Race
| true |
[
"Highlights for Children, often referred to simply as Highlights, is an American children's magazine. It began publication in June 1946, started by Garry Cleveland Myers and his wife Caroline Clark Myers in Honesdale, Pennsylvania (the present location of its editorial office). They both worked for another children's magazine, Children's Activities, for twelve years before leaving to start Highlights. Since its inception Highlights has carried the slogan \"Fun with a Purpose\".\n\nThe company is now based in Columbus, Ohio, and owns book publishers Zaner-Bloser, Stenhouse Publishers, and Staff Development for Educators. Its Boyds Mills Press division was sold to Kane Press in 2019. Highlights has surpassed one billion copies in print. Highlights, High Five, and Hello magazines do not carry any third-party advertising or commercial messages.\n\nThe Highlights Foundation, in Pennsylvania, is a public, not-for-profit 501(c)(3) organization supported by individuals, several publishing companies, and writers' organizations that are committed to improving the quality of children's literature by helping authors and illustrators hone their craft. Its location is the former home of the founders of Highlights for Children.\n\nBefore Highlights\nGarry Myers earned a PhD in psychology from Columbia University before World War I, providing a basis for the teaching he would do the rest of his life. He and Caroline Myers taught illiterate soldiers for the US Army, with Caroline becoming the first female teacher employed by the Army. This experience led to their pioneering of elementary education. They taught educators and parents for a time at Case Western Reserve University in Cleveland, Ohio, during which Garry Myers wrote a nationally syndicated column entitled Parent Problems, and the couple co-authored several books.\n\nThey had become nationally well known in education and wished to share their knowledge so they began to work for Children's Activities. Lecturing across the nation, they informed, discovered, and refined what they knew. Certain business endeavors kept them from publishing what they thought was ideal for a children's magazine. Their travels also led to long discussions on what would be appropriate for children, and after finishing with Children's Activities instead of retiring they decided to start their own magazine. Their experience, knowledge and uncompromising methods led to a success for Highlights. Later, they would buy Children's Activities and incorporate it in Highlights.\n\nGarry and Caroline Myers tragically lost their son Garry and his wife Mary along with Highlights company vice-president Cyril Ewart, who were all passengers on TWA Flight 266, which collided over New York Harbor with United Flight 826 on December 16, 1960, while the three were on the trip to discuss distribution plans for Highlights magazine. There was only one survivor on either plane, who died the following day.\n\nHighlights Magazine for Children\nHighlights is geared mainly to elementary school students; it contains stories and puzzles for children ages six to twelve years old. One aim of the magazine is to encourage kids to read and has something for preschoolers in every issue. Highlights illustrations feature people of all colors and its stories also cover diverse communities. Its February 2017 issue included a family with two dads, the first depiction of a same-sex relationship in the magazine's 70-year history.\n\nIn June 1946, the first issue of Highlights sold fewer than 20,000 copies. Forty years later, Highlights was the most popular children's magazine in the United States, having close to two million subscribers, with 95 percent of the copies mailed to homes. The magazine accepted no advertising and eschewed single-issue sales, but could be found in most doctors' and dentists' offices in the United States.\n\nBy 1995, Highlights circulation had grown to 2.8 million, with most subscribers still being families. In 2006, the United States Postal Service delivered the one-billionth copy of Highlights magazine to a young subscriber in Dallas, Texas. \n\nHighlights circulation numbers declined to about 2 million copies a month by 2015, and the magazine announced that it would move some content onto tablets and mobile devices with the help of San Francisco startup, Fingerprint Digital, led by former LeapFrog Enterprises executive Nancy MacIntyre. The magazine launched a new mobile app Highlights Every Day, in April 2017.\n\nHighlights High Five Magazine for PreschoolersHighlights High Five is a younger children's counterpart to Highlights, first published with the January 2007 issue. This children's magazine is for preschoolers ages two through six. The goal of High Five is to help children develop and to give parent and child a fun and meaningful activity to do together each month. Every issue is 40 pages and includes poems and stories, crafts, easy recipes, games, puzzles and other activities that encourage children to be lifelong learners.\n\nHighlights Hello Magazine for ToddlersHighlights Hello Magazine was introduced in December 2012. This magazine for babies and toddlers targets children ages 0–2 years old. Highlights announced that this magazine, which is offered in several subscription packages is designed specifically for babies.\n\nRegular featuresAsk ArizonaAppearing in the magazine since 2005, \"Ask Arizona\" is a story series featuring a girl named Arizona who writes an advice column for other children, similar to Dear Abby or Ask Ann Landers. The article depicts real-life experiences and appears in every issue.Hidden Pictures\"Hidden Pictures\", published in every issue of Highlights since the magazine's inception, is now found on page 14 of each issue. Children find the smaller hidden pictures within the larger picture.Goofus and GallantFirst appearing in Highlights in 1948, Goofus and Gallant is a cartoon feature created by Garry Cleveland Myers and drawn by Anni Matsick. The strip features two contrasting boys, Goofus and Gallant. In each cartoon, it is shown how each boy would respond to the same situation. Goofus chooses an irresponsible and immature path, while Gallant chooses a responsible, mature and kind path. Often the panels would provide a description, such as on a school bus: Goofus hogs his seat – Gallant makes space for someone else to sit down. Sometimes the situations would show the boys talking, such as phone courtesy when parents are away: Goofus: \"Someone called but I forgot their name.\" Gallant: \"Someone called for you. I wrote down their name and number\". Goofus and Gallant's primary function is to teach children basic social skills. Originally drawn in black and white, Goofus and Gallant changed to colored pencils in 1994 and later changed to colored computer graphics in December 2005.The TimbertoesCreated for a 1932 book of the same name (published by The Harter Publishing Company) by writers Edna M. Aldredge and Jessie F. McKee along with illustrator John Gee, The Timbertoes has appeared in Highlights magazine for more than 50 years. The first Highlights incarnation was a full-page black and white comic strip featuring line-drawn characters, later switching to digital color in 2003. The Timbertoes family consists of parents Ma and Pa and their children Tommy and Mabel. The characters, including their dog Spot, cat Splinter, goat Butter, and horse Troy are depicted as being constructed from wood. Upon Gee's death, Highlights Senior Editor Marileta Robinson took over writing the strip, with illustrations done by Judith Hunt. Since 2003, the Timbertoes have appeared in color with Ron Zalme as the illustrator. Rich Wallace is the current writer.JokesAppearing in every issue is a series of 10 jokes of various kinds. A knock-knock joke is always included as a part of this feature.RiddlesA series of ten riddles. The punchlines appear upside-down at the bottom of the column.Your Own Pages\"Your Own Pages\" is a feature that prints drawings, poems, and stories by readers who submit them to the magazine.What's Wrong?Featured on the back cover, \"What's Wrong?\" is a large drawing of a typical scene of children playing, but unusual objects take the place of normal things throughout the picture. The page instructs the reader to find the various objects that are wrong.CraftsThis is a section where kids can make different crafts, such as puzzles, puppets and cards.Brain PlayThis section comprises a list of several simple questions for children.ContestsSometimes Highlights would have an illustration of something and would ask if a reader could submit a short story to accompany this. Other times it could be an unfinished story and the contest would ask if the readers could submit a few paragraphs to complete it. Several ideas would be chosen as winners and featured in a future issue.Dear Highlights\"Dear Highlights\" is an advice column from real children appearing at the back of each issue.Puzzles, Short Stories, and PoemsEvery issue of Highlights features puzzles, short stories, and poems throughout the issue. A puzzle is always featured at the front side of the back cover.Your Best Self\"Your Best Self\" is a one-panel comic showing kids doing the right thing that appeared until February 2015.The Bear Family'''This was a cartoon created by Garry Cleveland Myers. It focuses on a family of bears consisting of Father Bear, Mother Bear, daughter Woozy, and sons Poozy and Piddy. They learned about everything from name-calling to discipline.\n\nFormer features\n\nAloysius\nThe Aloysius stories were written by Sydney K. Davis. They centralized on an anthropomorphic wolf named Aloysius, who would get into a situation and have to be rescued by the other characters in the story, a male named Samuel Samuel and a female named Wanda. These appeared until 1993.\n\n Digital media \nIn 2010, Highlights released a series of educational mobile apps on the iOS App Store.\n\nIn September 2015, Highlights announced a partnership with Fingerprint—a San Francisco–based startup company involved in the development of edutainment apps, in launching apps that would serve as a complement to the printed Highlights magazine, including an upcoming service that would offer daily content drawing upon the resources and back catalog of Highlights and its recurring features, and a full digital version of the magazine that will feature a \"personalized\" experience and integrated multimedia content. The subscription service, Highlights Every Day, officially launched in April 2016.\n\nOn June 25, 2019, Highlights for Childrens Twitter account denounced the practice of family separation at the Mexico–United States border.\n\n See also \n \n \n\nReferences\n\nExternal links\n Official site\n \"Highlights for Children 1 Billion Strong\". Business First of Columbus'', June 12, 2006.\n\nAdvertising-free magazines\nChildren's magazines published in the United States\nHonesdale, Pennsylvania\nMagazines established in 1946\nMagazines published in Ohio\nMagazines published in Pennsylvania\nMass media in Columbus, Ohio\nMonthly magazines published in the United States",
"ITV4 is a British free-to-air television channel which was launched on 1 November 2005. It is owned by ITV Digital Channels, a division of ITV plc, and is part of the ITV network. The channel has a line-up that consists of sports, police shows, cult classic films such as James Bond, US comedies and dramas, and classic ITV action series of the 1960s, 1970s and 1980s.\n\nHistory\nIt was expected that ITV4 would replace the existing Men & Motors channel (which was replaced by ITV HD) in the same way Granada Plus was rebranded into ITV3, until ITV plc stated that the two channels would run alongside each other, forcing the ITV News Channel on Freeview to timeshare with ITV4. ITV replaced the failing News Channel with CITV. Both channels were on Freeview until ITV plc took Men & Motors off Freeview (although it remained on other platforms for some time until April 2010) and replaced it with the live quiz channel ITV Play. Some programming from Men & Motors was transferred to ITV4. ITV4 was the first channel to use the new on-screen look that was rolled out across the rest of ITV plc's channels on 16 January 2006. Red Bee Media designed the new logos and presentation for the entire corporation that saw the end of the yellow and blue squared look designed for ITV, ITV2 and the cube look for ITV3. An ITV 2005 interim results presentation revealed that an old style logo was designed for the channel but was never used on air.\n\nThe channel initially broadcast early in the evenings, but had its hours extended to cover daytime programming in February 2008, following previous trials where CITV handed over to ITV4 early in the weekends, closing at 12.30pm instead of the usual 6pm handover.\n\nITV4 was launched on UPC Ireland in Ireland on 4 January 2010, marking the first time the channel has been officially available in the country. The channel had already been (and remains) available to Irish viewers on free-to-air satellite for some time, but it has not been listed in the Sky electronic programme guide since its removal on 25 January 2006. On 1 April 2011, ITV4 was removed from UPC Ireland along with ITV2 and ITV3 due to the expiry of a carriage agreement between UPC and ITV. UPC Ireland claim that ITV is not in a position to renegotiate the deal because ITV had struck a deal with another channel provider to provide it with exclusive rights to air certain content from the channels. Conversely, UPC Ireland also claims to have been in discussions right up to the last moment in order to continue broadcasting the channels. ITV2, ITV3 and ITV4 were restored to the UPC Ireland line-up on 20 December 2011. TV3 and its sister channel 3e already hold carriage agreement to air certain ITV content within the Republic of Ireland, alternatively UTV is available within the Republic. ITV2 is available along with ITV3 and ITV4 within Switzerland, all three channels are available on SwisscomTV and UPC Cablecom. ITV4 is registered to broadcast within the European Union/EEA through ALIA in Luxembourg.\n\nLaunch\nITV4's launch night was on Freeview channel 30. Although it was broadcast on the Astra 2D satellite used by Sky, so users could manually tune it in. It was launched on Sky channel 120, after ITV2 and ITV3 in the listings, on 7 November. Prior to this date, some sporting content was simulcast on Men & Motors in an ITV4 on M&M strand. It officially launched with Real Betis v Chelsea in the UEFA Champions League (Liverpool v Anderlecht was on ITV1 at the same time), the UKTV premiere of Kojak, and the film Carlito's Way.\n\nSubsidiary channels\n\nITV4 +1\nIn late October 2008, it was announced that a timeshifted (+1) version of ITV4 would be launched by the end of the year. ITV4 +1 was launched on Sky on 1 December 2008, on Freesat on 9 December 2008 and on Virgin Media on 25 March 2010. It was removed from Sky on 11 January 2011, due to the launch of ITV1 +1 (now known as ITV +1) taking up space on the EPG; the channel continued to be available on Freesat and Virgin. The channel was restored on 1 June 2012.\n\nITV4 HD\nA high-definition simulcast of ITV4, ITV4 HD, was launched on 15 November 2010 on Sky. The channel was initially available through Sky's pay subscription service in a non-exclusive deal, before being added to Virgin Media's service on 14 March 2013. ITV4 HD's high definition content includes films, and sports events which currently include British Touring Car Championship, Tour de France, horse racing, snooker, darts (including the UK Open and the Players Championship Finals) and French Open tennis as well as highlights of other sporting events and content from the ITV Sport archives.\n\nBranding\n\n2013 rebranding \nIn line with the corporate rebranding of ITV, ITV4 received a new look on 14 January 2013. The channel received a \"slate grey\" logo and became the \"home of sport and cult classics\". Channel promotion includes pub factoids and idents featuring viewer nominated \"dreams come true\".\n\nProgramming\n\nCurrent programming\n Auto Mundial\n The Avengers \n Ax Men\n Bear's Mission with...\n Benidorm (also shown on ITV2)\n The Big Fish Off\n The Big Match Revisited\n Britain's Busiest Motorway\n Cadfael\n The Car Chasers\n Car Crash Global: Caught on Camera\n The Car Years\n Cash Cowboys\n The Champions\n The Chase Celebrity Special (also shown on ITV and Challenge)\n Columbo (also shown on ITV3 and 5USA)\n Dempsey and Makepeace\n Duck Dynasty\n Extreme Salvage Squad\n Goodwood Revival (depending on the episode's subject matter also shown on ITV, as some episodes are mainly sports coverage, while others are motoring programmes)\n Gordon, Gino and Fred: Road Trip (also shown on ITV)\n Hornblower\n Ironside\n ITV Sport Stories\n Junk & Disorderly (also repeated late night on ITV)\n Jeremy Wade's Mighty Rivers\n Kojak\n Lovecars: On the Road\n Monster Carp\n Minder (the ITV series)\n The Motorbike Show (also repeated late night on ITV)\n Mr. Bean\n Only When I Laugh\n Pawn Stars (also shown on History, Lifetime and Blaze)\n The Professionals\n The Protectors\n River Monsters (also shown on Animal Planet and DMAX)\n Robin of Sherwood\n The Saint\n Sherlock Holmes\n The Sweeney\n Tenable\n When English Football Ruled Europe\n Who Wants to Be a Millionaire?\n World of Sport ('Best of..' compilations)\n\nFormer programming\n Fierce\n Fifth Gear (moved to Discovery+)\n Hell on Wheels\n Take the Tower (2018)\n Football Genius (2018)\n The New Avengers\n Nitro Circus\n Quincy, M.E.\n Speed Freaks (2019)\n Space Precinct\n Storage Wars\n Storage Wars: New York\n Storage Wars: Texas\n\nSports coverage\nBefore ITV4's launch in 2005, ITV's digital sports coverage was on ITV2, but after its launch all sports coverage moved to ITV4. In its first week, it had coverage of the aforementioned Real Betis v Chelsea game in the UEFA Champions League, and also had coverage of Middlesbrough v Dnipro Dnipropetrovsk in the UEFA Cup on the Thursday, and Amir Khan's fight against Steve Gethin from the Braehead Arena in Glasgow on the Saturday.\n\nCurrent coverage\nFootball\n England National Team Highlights and Re-runs (2008–present, Nations League and in-season friendlies live, plus highlights also on Sky Sports)\n Audi Cup (2009–present, shared with LFC TV)\n La Liga (2019)\n\nCycling\n Tour de France (from 2002 until at least 2019, shared with Eurosport)\n Tour de Yorkshire\n Vuelta a España (2011–present)\n Critérium du Dauphiné\n Critérium International\n Liège–Bastogne–Liège\n Paris–Roubaix\n Tour Series cycling\n Tour of Britain\n Revolution Series\n\nRugby union\n Six Nations Championship Highlights (2016–present, matches live on ITV & BBC)\n Women's Rugby World Cup\n Under 20s Rugby World Cup\n Rugby World Cup\n\nHorse racing\n Weekly Saturday Afternoon Horse Racing, 40 days of big meetings such as Grand National on ITV with 60 days of horse racing on ITV4 (2017–present)\n\nMotorsport\n Isle of Man TT (from 2009–present) \n Ulster Grand Prix (highlights on ITV4, live coverage and highlights on BBC Sport Northern Ireland)\n British Touring Car Championship (from 2005–present, live until 2026 with highlights on ITV)\n British Superbikes (live from 2005 to 2007 and highlights from 2009–present, live on British Eurosport)\n Superbike World Championship (highlights from 2016–present, live on British Eurosport)\n MotoGP (Live in 2021 from the French Round and highlights from 2014 to 2016, 2021–present)\n World Rally Championship (highlights from 2006–2008, 2013–2015, 2020-present)\n Motorsport UK (highlights from 2005–present)\n Goodwood Festival of Speed (highlights on ITV, shared with Sky Sports F1) \n BRDC Formula 3 Highlights\n\nDarts\n European Championship (2008, 2011, 2013–present)\n Players Championship Finals (2009–2010, 2011–present)\n The Masters (2013–present: PDC tournament, not to be confused with the BDO Winmau World Masters with ITV covered from 1974 to 1988)\n UK Open (2014–present, previously on Sky Sports)\n World Series of Darts Finals (2015–present)\n World Series of Darts (6 tournaments with live or delayed coverage on ITV4 from 2015–present)\n\nTennis\n French Open (from 2012–present, shared with Eurosport)\n\nSnooker\n Champion of Champions (2013–present)\n World Grand Prix (2015–present)\n Players Championship Grand Finals (2016–present)\n\nBoxing\nThe Big Fight Live (2005–2010 & 2017–present, selected fights on ITV4 with others on ITV Box Office)\nPremier Boxing Champions (2019–present, selected fights on ITV4 and more fights on ITV Box Office)\n\nWrestling\n AEW Dynamite (2019–present, full broadcast on ITV4 on Friday nights, and highlights on ITV)\n AEW Rampage (2021–present, full broadcast on ITV4 on Tuesday nights, and highlights on ITV)\n\nFormer coverage\nFootball\n International Friendlies, Qualifiers and Play-Offs (2010–2018, from 2014 to 2018 at least one qualifier live per matchday not involving a UK Home Nation, shared with Sky Sports)\n Scotland, Wales & Northern Ireland National Team Highlights (2014–2018, live on Sky Sports and highlights on BBC NI, BBC Scotland & BBC Wales)\n UEFA Champions League (2nd exclusive match on ITV4 from 2005 to 2008 and delayed matches and highlights from 2008 to 2018, now on BT Sport)\nUEFA Europa League (highlights from 2015 to 2018, live on BT Sport)\nUEFA Super Cup Highlights (2008–2014, on ITV4 if a British club is involved & highlights from 2015 to 2018)\n FA Cup Replays (2009–2010, now on BBC Sport)\n FA Community Shield Highlights (2008–2014, now on BT Sport & BBC Sport)\n FA Trophy Final (2009, now on BT Sport)\n 2006 FIFA World Cup (live and highlights)\n Euro 2008 (live and highlights)\n 2010 FIFA World Cup (live and highlights)\n Euro 2012 (live and highlights)\n FA Cup Live, Highlights & Replays (2008–2014, rights transferring to BBC Sport)\n World Cup (Brazil 2014) (live and highlights, all major tournaments alongside BBC Sport)\n European Championships (France 2016) (live on BBC Sport & ITV Sport, selected games & highlights on ITV4)\n African Cup of Nations (2012–2015, live coverage & highlights. Now on Eurosport)\n Bundesliga (weekly highlights from 2012 to 2017)\n\nBoat race\n The Boat Race (highlights from 2006 to 2009, now on BBC Sport)\n\nBoxing\n Frank Warren fights (2006–2008, now on BoxNation and BT Sport)\n Hennessey fights (2008–2010)\n Undercard of main fight (usually shown on ITV4 with main event on ITV with all fights from 2008 to 2010 on ITV4)\n Carl Frampton Live: Undercard live on ITV4, Frampton Live on ITV & highlights on ITV4\n\nCricket\n Ashes Cricket (highlights from 2010 to 2011)\n IPL Cricket (2010–2014, now on BT Sport)\n Cricket World Cup Highlights (2015, live on Sky Sports with highlights on ITV & ITV4)\n\nSnooker\n Power Snooker (2010–2011)\n World Open (2013)\n Snooker Shoot Out (2016–2018, now on Eurosport)\n\nDarts\n Grand Slam of Darts (2007–2010, now on Sky Sports)\n\nMotorsport\n Formula One (highlights and re-runs from 2006 to 2008, now on Channel 4 and Sky Sports F1)\n GP2 Series (live and highlights from 2006 to 2008, now on Sky Sports F1)\n DTM (highlights from 2012–)\n Formula E (2014–2016, now on BBC, Quest, and Eurosport)\n\nCycling\n Tour of California (2011)\n\nRugby Union\n Aviva Premiership Highlights (2008–2017, live on BT Sport and Channel 5 with highlights)\n LV Cup Highlights (2010–2017, live on Sky Sports)\n Heineken Cup Highlights (2010–2014, live on Sky Sports, which ended when it became European Champions Cup)\n\nTennis\n Masters Tennis from the Royal Albert Hall (2010–2014)\n\nHistory of ITV4 on air identity\n\nReferences\n\nExternal links \n\n \n\nITV television channels\nTelevision channels and stations established in 2005\nTelevision channels in the United Kingdom\n2005 establishments in the United Kingdom"
] |
[
"Seattle Slew",
"Retirement and legacy",
"When did he retire?",
"25 years to the day after he won the Kentucky Derby, Seattle Slew died in his sleep at age 28.",
"What was the reaction to his death?",
"He was buried whole, the highest honor for a winning race horse,",
"Where is he buried at?",
"in the courtyard at Hill 'N' Dale Farm near Lexington, Kentucky, with his favorite blanket and a bag of peppermints which he liked to eat.",
"What were some highlights?",
"Three Chimneys Farm erected a statue of Seattle Slew near the stallion barn in his honor."
] |
C_e230c8ce583940a99dd655e7e571b2d3_0
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Are there any other interesting aspects about this article?
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Are there any other interesting aspects about this article besides Seattle Slew's statue?
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Seattle Slew
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Seattle Slew stood at stud at Spendthrift Farm in Lexington for seven years, before moving to Three Chimneys Farm in Midway in 1985. He was the leading sire of 1984, when his son Swale (who died later that year) won the Kentucky Derby and Belmont Stakes. His other progeny include the talented, ill-fated 1982 champion two-year-old filly, Landaluce, Slew o' Gold (winner of the 1983 Eclipse Award for Outstanding Three-Year-Old Male Horse and the 1984 Eclipse Award for Outstanding Older Male Horse), 1992 Horse of the Year A.P. Indy and the 2000 champion three-year-old filly Surfside. He is part of a unique three generation sequence of Belmont Stakes Winners: Seattle Slew (1977) - A.P. Indy (1992) - Rags to Riches (2004). The primary conduit for Seattle Slew's continuation of his male line has been through A.P. Indy. A.P. Indy has done well at stud in Kentucky, siring (among others) the 2003 Horse of the Year, Mineshaft. One of Seattle Slew's most successful grandsons is the California champion Lava Man (sired by Slew City Slew). In 2006, Lava Man became the first horse to win the Santa Anita Handicap, Hollywood Gold Cup and Pacific Classic Stakes in the same year. Seattle Slew was also a leading broodmare sire, his daughters producing (among others) Cigar (leading North American money-earner of his day). Races in honor of his dam, My Charmer, include the My Charmer Handicap held at Florida's Calder Race Course annually and the My Charmer Stakes held at Kentucky's Turfway Park. Rags to Riches, a granddaughter, won the 2007 Belmont Stakes - the third filly to win the race, after Ruthless in 1867 and Tanya in 1905. The victory earned jockey John Velazquez and trainer Todd Pletcher their first wins in any Triple Crown race. Rags To Riches was the 22nd filly to run in the Belmont. In 2002, ESPN telecast a "SportsCentury" on Seattle Slew. In 2014, Seattle Slew's great-great grandson, California Chrome, won the Kentucky Derby and the Preakness. California Chrome was the second Kentucky Derby winner in a row who was a sire-line descendant of Seattle Slew, following Orb in 2013. California Chrome's bid for the Triple Crown was defeated by another great-grandson of Seattle Slew, Tonalist, by leading sire Tapit. Tapit also sired the winners of the 2016 and 2017 Belmont Stakes, Creator and Tapwrit respectively. 25 years to the day after he won the Kentucky Derby, Seattle Slew died in his sleep at age 28. He was buried whole, the highest honor for a winning race horse, in the courtyard at Hill 'N' Dale Farm near Lexington, Kentucky, with his favorite blanket and a bag of peppermints which he liked to eat. Three Chimneys Farm erected a statue of Seattle Slew near the stallion barn in his honor. Since fellow Triple Crown winner and rival Affirmed had died the year before, he was the sole living Triple Crown winner. At the horse's death, there were no living Triple Crown winners for the first time since Sir Barton won the first Triple Crown in 1919. This phenomenon continued until American Pharoah's Triple Crown in 2015. CANNOTANSWER
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At the horse's death, there were no living Triple Crown winners for the first time since Sir Barton won the first Triple Crown in 1919.
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Seattle Slew (February 15, 1974 – May 7, 2002) was a champion American Thoroughbred racehorse who became the tenth winner of the American Triple Crown (1977). He is one of only two horses to have won the Triple Crown while being undefeated in any previous race; the second was Justify who won the Triple Crown in 2018 and is descended from Seattle Slew. Seattle Slew was the 1977 Horse of the Year and a champion at ages two, three, and four. In the Blood-Horse magazine List of the Top 100 U.S. Racehorses of the 20th Century Seattle Slew was ranked ninth.
Joe Hirsch of the Daily Racing Form wrote of Seattle Slew's three-year-old campaign: "Every time he ran he was an odds-on favorite, and the response to his presence on the racetrack, either for a morning workout or a major race, was electric. 'Slewmania' was a virulent and widespread condition."
Seattle Slew later became an outstanding sire and broodmare sire, leading the North American sire list in 1984 when his son Swale won the Kentucky Derby and Belmont Stakes. Another son, A.P. Indy, won the Belmont Stakes and continued the sire line through descendants such as Mineshaft, Tapit, and California Chrome.
Background
Seattle Slew was a dark bay horse with a small white patch of hair by his left rear hoof. He was bred by Ben S. Castleman, a Kentucky racing commissioner, and was foaled at White Horse Acres near Lexington, Kentucky. Seattle Slew was the first foal out of My Charmer, a stakes-winning daughter of the otherwise obscure sire Poker. My Charmer went on to produce the 2000 Guineas winner Lomond and Seattle Dancer, and several of her daughters became outstanding producers. My Charmer descends from champion and noted “blue hen” Myrtlewood. Castleman originally intended to breed My Charmer to Jacinto but that stallion's book was full so Seth Hancock of Claiborne Farm recommended the mare be bred instead to Bold Reasoning, a first-crop sire who had won the Jersey Derby and Withers Stakes in 1971. Bold Reasoning was a grand-son of Bold Ruler, whose descendants, including Secretariat, dominated the Kentucky Derby in the 1970s.
Seattle Slew was not considered particularly attractive as a foal, leading some to say he looked like a mule. He was so awkward that his first nickname was Baby Huey. As he matured though, he developed a graceful front-running style with an acceleration that was compared to "a falcon in a dive." At maturity, he stood high at the withers with strong hind legs and a powerful shoulder. However, his right forefoot was noticeably turned out.
Seattle Slew was purchased for just $17,500 (equivalent to $ in ) at the 1975 Fasig-Tipton yearling auction. His new owners, later known as "the Slew Crew", were Karen and Mickey Taylor and Jim and Sally Hill. Horse owners since the early 1970s, Karen Taylor was a former flight attendant, and her husband, Mickey Taylor, was a lumberman. They lived in White Swan, Washington. Jim Hill, a veterinarian, picked out Seattle Slew at the sale, though the original budget was only $12,000. Karen Taylor, liking the look of the colt, urged her husband to go higher. They named the colt for the city of Seattle and the sloughs which loggers once used to transport heavy logs. Karen felt that the pronunciation of slough — a slow-moving channel of the Pacific Northwest — would be too hard for people to remember, so the spelling was changed to Slew. A later co-owner was Glenn Rasmussen, the accountant for the equine partnerships.
Seattle Slew's owners sent the colt to Billy Turner, a friend and former steeplechase rider who had trained horses seasonally in Maryland since the early 1960s. Based at Belmont Park in the mid-1970s, Turner accepted Seattle Slew and another Taylor-Hill purchase and sent them to Andor Farm in Monkton, where his wife at the time, Paula, taught yearlings to be ridden.
Seattle Slew was described as "intelligent, dominant and determined." "He was very easygoing," Turner said. "He liked people but he wasn't lovey dovey. He didn't like people petting him. He was the boss hoss. He would stand back and just look at you. He would let you do whatever you wanted him to do, but only if he wanted to do it."
Racing career
1976: two-year-old season
Seattle Slew's debut was delayed by his initial awkwardness, but he started to attract attention over the course of the summer at Saratoga with some fast workouts. Taylor later recalled that the colt had been timed in a brilliant time of 33 seconds for three-eighths of a mile, but the clocker instead recorded the time as 36 seconds because he felt people wouldn't believe the right figure. Slew was set to make his first start at the end of August but injured himself in his stall. He finally made his first start in a six-furlong maiden race on September 20, 1976, the fifth race at Belmont Park. The big, nearly black colt was bet down to the 5–2 favorite. He gave the public its first look at what was later called his "war dance" (his habit of tiptoeing on the track before his races) and won by five lengths. He followed up in seven-furlong allowance race on October 5, 1976, winning by lengths.
On October 16, Taylor stepped the colt up in class to enter the Grade I Champagne Stakes, then the most important race for two-year-olds in the United States. His biggest rival was For the Moment, who had won four straight races including the Belmont Futurity and was a full-brother to champion Honest Pleasure. Nonetheless, Seattle Slew went off as the almost even-money favorite. Jockey Jean Cruguet sent him straight to the lead and opened up a lead down the backstretch. None of the other riders chose to challenge him, perhaps believing the colt would tire down the stretch. Instead Seattle Slew continued to draw away, eventually winning by lengths in a time of 1:34 for one mile, then a stakes record.
Despite starting just three times, Seattle Slew was named Champion Two-Year-Old of 1976.
1977: three-year-old season
Turner scheduled three races for Seattle Slew leading up to the Kentucky Derby, which was then considered to be a light campaign. Turner felt that the main threat to Seattle Slew was his health, because the horse ran so fast and hard every time. Hill later said that Turner used the prep races as workouts and did as little as possible in between. Turner scheduled only 19 breezes for Seattle Slew before and during his Triple Crown campaign, instead trying to get the colt to relax.
Seattle Slew's first start came as a three-year-old in an allowance race on March 9, 1977 at Hialeah Park Race Track. Going off at odds of 1-10, he dueled with White Rammer for the early lead while completing the first quarter-mile in a swift 22 seconds. He kept up the pace, completing the half-mile in 44 seconds and six furlongs in 1:08 flat (which would have been a new track record). Eased in the final sixteenth of a mile, he still set a seven-furlong track record of 1:20 in winning by nine lengths. Despite the ease of the win, Turner was concerned, fearing the colt was using too much energy early in his races to withstand the challenge of the longer races to come.
On March 26, Seattle Slew entered the Flamingo Stakes, where he went off at odds of 1-5. He set his own pace and opened a large lead moving into the final turn. He was eased down the stretch but still won by four lengths in a time of 1:47 for miles – the third-fastest time in the stakes' 51-year history.
He then shipped north to Aqueduct Racetrack in New York, where he became the subject of intense media scrutiny. His owners considered entering him in the Gotham Stakes on April 9 but Turner was against it because heavy rains had rendered the main track unusable, meaning the colt had not been able to properly work out. Instead, Seattle Slew made his third start of the year on April 23 in the Wood Memorial Stakes. Going off as the 1-10 favorite, he went to the early lead, challenged by Fratello Ed. Cruguet got the colt to relax and they set sensible fractions, then coasted to a length win. The time of 1:49 was considered unimpressive, but his connections were pleased by the horse's demeanor. "He doesn't have to run the way he has before," said Cruguet. "He was never really pressed."
Kentucky Derby
The "Slew Crew" then relocated to Churchill Downs where the Taylors set up a camper opposite the colt's stall in Barn 42, which traditionally houses the favorite for the Kentucky Derby. With Mickey Taylor's father acting as chief bodyguard for the colt, the connections dealt with a constant stream of visitors. Showing his growing maturity, Seattle Slew remained relaxed throughout the week leading up to the race. His training did not go entirely to expectations however when he posted an uncharacteristically slow workout the Sunday before the race. Turner planned to sharpen the colt with a five-furlong breeze on the Thursday before the race but the track came up muddy. Seattle Slew's final workout was a three-furlong breeze in 34 seconds the morning before the Derby was held.
The 1977 Kentucky Derby was held on May 7 before a crowd of 124,028. The track was rated as fast despite showers earlier in the day. Seattle Slew was the heavy favorite at odds of 1-2 but still faced a large field as many felt the colt would be vulnerable at the Derby's distance of miles. The second choice was Run Dusty Run, who had been the second-ranked two-year-old and had run second in several major Derby prep races. For the Moment was also given a strong chance after winning the Blue Grass Stakes.
In reaction to the crowd noise, Seattle Slew washed out in the paddock and again during the post parade. Cruguet did little to warm up the colt, instead taking him away from the crowd to relax. He had drawn post position three, and had to wait in the starting gate for the rest of the field to load. Slew reacted slowly at the break then swerved nearly sideways and found himself trapped near the back of the field. He reacted by charging through the field, bumping several other horses who were in his way. After two furlongs, he had worked his way into second place just behind For the Moment. The two colts then dueled around the first turn before Cruguet got Seattle Slew to relax down the backstretch, under a tight restraint, allowing For the Moment to open up a lead of a length. For the Moment completed the first three-quarters of a mile in 1:10, then was joined again by Seattle Slew as they moved around the final turn. At the top of the stretch, Cruguet went to the whip and Seattle Slew pulled away by 4 lengths, then shut down in the final eighth of a mile to win by lengths over Run Dusty Run.
The colt still had his detractors. The final time of 2:02 was considered slow, particularly as the final quarter mile was run in 26 seconds. Turner pointed to the interruptions in the colt's training. "Because of the circumstances, he was somewhat undertrained. You knew it, and I knew it," he said.
Seattle Slew was visibly upset after the race. "It was the only time I was scared of him," said his groom, John Polston. "He was so high-strung that night, he was evil, just evil. I couldn't believe how wound tight he was. It was like he hadn't even been in a race. I had to take him from the hotwalker and he ran over me a couple of times. I'd never seen him like that before."
Preakness Stakes
Two weeks later, in the 1-mile Preakness Stakes, Seattle Slew faced a new rival in multiple-stakes-winner Cormorant. Many handicappers believed a predicted speed duel with Cormorant would jeopardize the Derby winner's chances; Andrew Beyer picked Cormorant to win in his Washington Post column. Other highly rated contenders were J. O. Tobin, the English champion two-year-old colt of 1976, and Iron Constitution, who had won the Withers Stakes. For the first time, Turner chose to have the colt given butazolidin before the race, fearing that Seattle Slew might suffer a minor injury in his final workout.
Seattle Slew broke from post position 8 with Cormorant to his inside on a track with a definite bias for runners on the rail. As expected, the two battled for the early lead, sprinting nearly ten lengths clear of the rest of the field while setting fast fractions of 22 seconds for the first quarter-mile and 45 for the first half. Around the far turn, Seattle Slew started to open up a lead while completing the mile in 1:34. Cruguet then eased up on the colt down the stretch, allowing Iron Constitution to close to within 1 lengths. The final time of 1:54 was one of the fastest in the history of the race, especially notable as the track was considered to be somewhat dead.
Belmont Stakes
Seattle Slew trained well during the three weeks between the Preakness and Belmont Stakes, showing a new level of determination according to Turner. During one of his final workouts, Slew was pulled up early by his exercise rider. "He was afraid he could not hold him," said Turner. "I had warned the outriders, too. This horse might have gone around two or three times."
The 1977 Belmont Stakes was run on June 11 on a muddy track before a crowd of 70,229, with eight rivals facing Seattle Slew. Turner arrived late at the saddling enclosure, due in part to the number of cars parked on the backstretch, as well as his desire to limit the colt's exposure to the enthusiastic crowd. "Turner was fined," said Sally Hill later. "We paid the fine. They weren't going to start the race without him."
Going off at odds of 2-5, Seattle Slew went to the early lead. Though pressed at first by Spirit Level and then Run Dusty Run, he was able to relax, completing the opening mile in a leisurely 1:38. Spirit Level and Run Dusty Run closed down the gap around the far turn, and then Sanhedrin made a strong run to move into second place, raising concerns about Slew's ability to complete the distance. Seattle Slew responded to the challenge in the final quarter-mile when he opened up daylight between himself and the rest of the field. Down the stretch, Cruguet tapped him with the whip a few times to keep the colt's mind on the race and Seattle Slew won comfortably by four lengths over Run Dusty Run. He became the tenth American Triple Crown winner and (with his nine-for-nine record) was the first Triple Crown winner to finish the series undefeated.
Cruguet stood up in the stirrups and raised his right hand triumphantly some 20 yards before the finish line, leading some to criticize him for the "emotional flourish". Cruguet described his feelings as "happiness, just happiness" before hurrying off to ride in the next race. Turner was harder hit. "I ducked into a stall and broke down and cried," he said. "It was such a relief, because the pressure was off."
Aftermath
After the Triple Crown, Seattle Slew was sent to Hollywood Park Racetrack, which increased the purse for the Swaps Stakes to over $300,000 to lure him to run on July 3. In the Swaps, Seattle Slew was unable to get to the front as jockey Bill Shoemaker sent J.O. Tobin to the lead. J.O. Tobin set fast early fractions for a -mile race – 22 for the first quarter-mile, 45 for the half, 1:09 for six furlongs and 1:33 for the mile. Seattle Slew, boxed in for much of the race with Text to his side, eventually broke free but tired badly in the stretch. He finished fourth, 16 lengths behind J.O. Tobin, who won in a stakes record of 1:58, just two-fifths off the world record for the distance at that time.
The race was the cause of much controversy. Before shipping to California, Seattle Slew had been sedated repeatedly to be used in a Xerox advertising campaign for a new X-ray machine, then was sedated again during the flight. Turner believed this contributed to Seattle Slew's dull effort. Turner also said that he had disagreed with the decision to ship to California at all, feeling the colt needed more time to recover from the Triple Crown. The owners said that Turner had not raised objections prior to the race, and further that Turner's drinking problems were putting the horse at risk. At the end of the year, Turner was fired and replaced by Douglas Peterson.
Meanwhile, Seattle Slew was given time off to recover, then resumed training in August for a fall campaign. However, he was sidelined by a suspension to Hill, whose ownership share had been previously undisclosed. Despite the disappointing end to the season, Seattle Slew was the easy winner in the voting for champion three-year-old at the annual Eclipse Awards. The voting for American Horse of the Year honors was closer, with Seattle Slew prevailing over Forego by 105 votes to 84.
1978
In early 1978, Seattle Slew was stabled at Hialeah and was expected to make three or four starts in Florida, followed by a full campaign in New York's major stakes races. He was scheduled to make the first start of his four-year-old campaign on January 16, 1978 in the Tallahassee Handicap. However, he was scratched from the race on January 14 when he lost his appetite and was found to have a fever of 102. His condition then went quickly downhill, marked by weakness, dehydration and a sharp decrease in his white blood cell count. It was later revealed that his jugular vein had collapsed when a pre-race injection of butazolidin missed the vein.
While Seattle Slew slowly recovered, his owners contemplated retiring him to stud. Instead, they kept him in training for 1978 while syndicating him for a then-record $12 million. The Taylor and Hill families retained 50% of the shares while Brownwell Combs of Spendthrift Farm headed the syndication group.
Seattle Slew eventually returned to training and was shipped north to Aqueduct, which held "Seattle Slew day" on April 29. A crowd of 25,931 cheered while Seattle Slew was led around the paddock and then taken on track for a six-furlong workout, completed handily in 1:10. On May 14, Seattle Slew returned to racing in a seven-furlong allowance race. Over an extremely muddy track, he settled in second place behind Gallant Bob for the first quarter-mile, then started to open up on the field, eventually winning by lengths. Despite the adverse track conditions and never being urged by Cruguet, his time was a "brisk" 1:22.
Seattle Slew was being pointed to the Metropolitan Handicap at the end of May but suffered another setback when a filling in his left hind leg was discovered. The problem was thought to be minor, but it was not until August that he made his next start. This was in a seven-furlong allowance race at Saratoga Race Course, which he won by six lengths in 1:21 over a sloppy track.
In preparation for his fall campaign, Seattle Slew was sent to the Meadowlands on September 5 for a night race, the Paterson Handicap at a distance of miles. He went off as the 1-5 favorite despite being assigned 128 pounds. His main rival was Dr. Patches, who had an excellent record at the Meadowlands and was carrying only 114 pounds. Seattle Slew went straight to the lead and set fast early fractions. Turning for home though, Dr. Patches made his move and slowly drew past. Seattle Slew tried to fight back but lost by a neck in a major upset. Jean Cruguet lost the mount after the race, after expressing doubt if the horse had been sufficiently trained.
Marlboro Cup
The 1978 Marlboro Cup, run on September 16, was the first time that two Triple Crown winners raced each other. Affirmed had won the Triple Crown in a thrilling showdown with Alydar, and had won all but one of his starts that year, that loss coming by disqualification. Taylor was not concerned by Affirmed's reputation. "We've watched every one of his races this year and watched them carefully," he said. "He's an outstanding horse, but so is Slew. Affirmed had better be ready when the Marlboro Cup comes up, because he's going to see one big, black butt in front of him."
For the only time in his career, Seattle Slew was not the favorite, going off at 2-1 compared to Affirmed at 1-2. Affirmed and Seattle Slew were both known as front-runners but Seattle Slew's new jockey Angel Cordero Jr. felt that Affirmed had benefited from setting slow early fractions in his early races. He sent Seattle Slew to the lead and completed the first quarter in an easy 24 seconds, then picked up the pace down the backstretch to complete the half-mile in 47 seconds with Affirmed two lengths behind. Rounding the final turn into the stretch, Cordero allowed Slew to swing wide. Affirmed came up on the inside, but Seattle Slew responded to beat Affirmed by three lengths, with the third-place horse a further five lengths back. He completed the distance of miles in a time of 1:45, just two-fifths of a second off the world record set by Secretariat in the 1973 Marlboro Cup.
"I knew when we were able to go to the lead that we could win it," Cordero said. "Slew is such a nice horse and I was able to relax him on the backstretch. There isn't a horse in the world that could have beaten him today."
Woodward Stakes
Two weeks later, Seattle Slew was entered in the Woodward Stakes, then held at Belmont Park over the American classic distance of miles. Affirmed skipped the race, making Exceller the main contender in a field of five. Seattle Slew coasted through the first quarter in seconds, then picked up the pace under slight pressure from Exceller, normally known for his closing kick. Turning for home, Cordero used the whip twice and Seattle Slew drew off to win by four lengths. His time of 2 minutes flat for miles was a Belmont course record for a race started on the turn. (At that time, 10 furlong races at Belmont were normally started in a chute, allowing the horses to run straight for about half the race. However, the chute was under repair in 1978). The winnings from the race made Seattle Slew the 23rd horse in racing history to earn a million dollars.
Jockey Club Gold Cup
In October, Seattle Slew and Affirmed met again in the -mile Jockey Club Gold Cup at Belmont, which was televised nationally on the CBS network. Affirmed's trainer, Laz Barrera, did not want Seattle Slew to get an easy lead and dictate the pace as he had in the Marlboro Cup, so Barrera also entered a "rabbit" (Life's Hope) in an attempt to tire Slew. Seattle Slew ran in fractions of 22 for the first quarter, 45 for the half and 1:09 for three-quarters – extremely fast early times for a long race. Life's Hope dropped back, then Affirmed also faltered, having raced too close to the pace. Affirmed's problems were compounded when his saddle slipped.
Meanwhile, Bill Shoemaker on Exceller took advantage of the fast pace. Far back early, Exceller made a strong move on the far turn and saved ground by moving inside Seattle Slew as the tiring horse bore out turning for home. Exceller took the lead at the top of the stretch, and opened a half-length lead in midstretch. Seattle Slew fought back and lost by a nose in a photo finish. This stretch run is still remembered as among the all-time best, ranking with Sunday Silence and Easy Goer's Preakness in 1989 and the battles between Affirmed and Alydar. Despite the defeat, many analysts considered this to be Seattle Slew's greatest performance. Andrew Beyer (a Seattle Slew skeptic when the horse was a three-year-old) wrote for his lead, "Exceller was the winner of yesterday's Jockey Club Gold Cup, Seattle Slew was its hero."
Stuyvesant Handicap
Seattle Slew's last race was in the Stuyvesant Handicap on November 11 at Aqueduct Racetrack. He was assigned the high weight of , conceding his rivals from 19 to 27 pounds. As the 1-10 favorite, he went to the early lead and was never challenged, winning by lengths. He completed the -mile race in 1:47, just off the track and stakes record set by Riva Ridge in 1973. Watching the race were Turner and Cruguet, who both expressed regret that they'd had to part ways with the horse. "Even now," said Cruguet, "he should be undefeated."
Seattle Slew retired with 14 wins in 17 races and earnings of $1,208,726. He was named Champion Older Horse in 1978 but lost the Horse of the Year balloting to the horse he defeated in the Marlboro Cup, Affirmed.
Statistics
An asterisk before the odds means that Seattle Slew was the post-time favorite.
Source: Daily Racing Form
Stud career
Seattle Slew stood at stud at Spendthrift Farm in Lexington for seven years, before moving to Three Chimneys Farm in Midway in 1985. He was the leading sire of 1984, when his son Swale (who died later that year) won the Kentucky Derby and Belmont Stakes. He is part of a unique three generation sequence of Belmont Stakes Winners: Seattle Slew (who won the race in 1977) sired A.P. Indy (1992) who in turn sired Rags to Riches. Rags to Riches was just the third filly to win the race, after Ruthless in 1867 and Tanya in 1905. The victory earned jockey John Velazquez and trainer Todd Pletcher their first wins in any Triple Crown race.
Seattle Slew sired 1,103 named foals, of which 537 (48.7%) were winners and 111 (10.1%) were stakes winners. Major winners by Seattle Slew include:
A.P. Indy – Belmont Stakes, Breeders' Cup Classic, 1992 Horse of the Year (USA) and champion three-year-old, Hall of Fame inductee
Adored – Santa Margarita, Delaware Handicap
Capote – Breeders' Cup Juvenile
Fleet Renee – Ashland, Mother Goose
Flute – Kentucky Oaks
Hail Atlantis – Santa Anita Oaks
Lakeway – Santa Anita Oaks, Hollywood Oaks, Mother Goose
Landaluce – Oak Leaf Stakes, Champion two-year-old filly
Life at the Top – Mother Goose
Magic of Life – Coronation Stakes
Seattle Song – Prix de la Salamandre, Washington DC International
Septieme Ciel – Prix de la Forêt
Slew City Slew – Oaklawn Handicap, Gulfstream Park Handicap
Slew o' Gold - multiple stakes winner including Jockey Club Gold Cup (twice), Woodward Stakes (twice), Marlboro Stakes, Wood Memorial. Champion three-year-old (1983) and champion older horse (1984). Hall of fame inductee
Slewpy – Young American Stakes, Meadowlands Cup
Surfside – multiple stakes winner including Frizette and Santa Anita Oaks. Champion three-year-old filly (2000)
Swale – Kentucky Derby and Belmont Stakes
Taiki Blizzard – Yasuda Kinen
Vindication – Breeders' Cup Juvenile, Champion Two-Year-Old Colt of 2002
The primary conduit for the continuation of Seattle Slew's male line has been through A.P. Indy, who was the leading sire in North America of 2003 and 2006. A.P. Indy sired the 2003 Horse of the Year, Mineshaft, Preakness Stakes winner Bernardini and Belmont Stakes winner Rags to Riches. A.P. Indy's grandsons include Tapit. the leading North American sire in 2014, 2015 and 2016. Slew City Slew was also a good sire, whose sons include California champion Lava Man. In 2006, Lava Man became the first horse to win the Santa Anita Handicap, Hollywood Gold Cup and Pacific Classic Stakes in the same year.
In 2014, Seattle Slew's great-great grandson, California Chrome, won the Kentucky Derby and the Preakness. California Chrome was the second Kentucky Derby winner in a row who was a sire-line descendant of Seattle Slew, following Orb in 2013. California Chrome's bid for the Triple Crown was defeated by another great-grandson of Seattle Slew, Tonalist, by Tapit. Tapit also sired the winners of the 2016 and 2017 Belmont Stakes, Creator and Tapwrit respectively.
Seattle Slew was also a notable broodmare sire, leading the North American list in both 1995 and 1996. His daughters produced (among others) Cigar, the leading North American money-earner of his day.
Legacy
Seattle Slew underwent spinal fusion surgery at Rood and Riddle Equine Hospital for a neurological condition in 2000, followed by a second surgery in 2002. Upon recovery from the second surgery, he was moved to Hill 'n' Dale Farm to recover: his old stall at Three Chimney's was too close to the breeding shed, and he became agitated whenever mares arrived at the farm.
On May 7, 2002, 25 years to the day after he won the Kentucky Derby, Seattle Slew died in his sleep at age 28. He was buried whole at Hill 'n' Dale, the highest honor for a winning race horse, with his favorite blanket and a bag of peppermints. Three Chimneys Farm erected a statue of Seattle Slew near the stallion barn in his honor. Since fellow Triple Crown winner and rival Affirmed had died the year before, he had been the sole living Triple Crown winner. At the horse's death, there were no living Triple Crown winners for the first time since Sir Barton won the first Triple Crown in 1919. This phenomenon continued until American Pharoah's Triple Crown in 2015.
The Taylors remained close to Seattle Slew throughout his life and were with him at the time of his death. "He had the greatest heart," said Karen Taylor. "He was a fighter to the end." John Sikura of Hill 'n' Dale commented, "To be near greatness is what everyone in this business aspires to, and it happens so rarely. He was one in a million, and showed us there is that possibility in a game of impossibilities."
Seattle Slew was inducted into the National Museum of Racing and Hall of Fame in 1981. In the BloodHorse magazine's listing of the top 100 American thoroughbreds of the twentieth century, he was ranked ninth. A British publication, A Century of Champions, ranked him fourth among North American racehorses. In 2002, ESPN telecast a "SportsCentury" on Seattle Slew.
The book Seattle Slew, by Steve Cady and Barton Silverman, was released by Penguin Books in 1977. In 2000, the Eclipse Press released another book of the same title, written by Dan Mearns as part of the Thoroughbred Legends series.
In 2015, the state of Kentucky starting issuing a license plate bearing Seattle Slew's image, based on a photograph by Tony Leonard. Proceeds benefit the Kentucky Equine Education Project Foundation (KEEP).
Pedigree
Seattle Slew was inbred 4 x 4 to the stallion Nasrullah, meaning that Nasrullah appears twice in the fourth generation of his pedigree. His dam My Charmer was inbred 4 x 4 to both War Admiral and Baby League (a daughter of the highly influential broodmare La Troienne) through the full sisters Striking and Busher.
See also
A.P. Indy
Exceller
Three Chimneys Farm
References
Further reading
External links
Seattle Slew's Official Website
Seattle Slew's Kentucky Derby page
Seattle Slew profile at the National Museum of Racing and Hall of Fame
1974 racehorse births
2002 racehorse deaths
Racehorses trained in the United States
Horse racing track record setters
Racehorses bred in Kentucky
United States Thoroughbred Racing Hall of Fame inductees
Kentucky Derby winners
Triple Crown of Thoroughbred Racing winners
Eclipse Award winners
American Thoroughbred Horse of the Year
Preakness Stakes winners
Belmont Stakes winners
United States Champion Thoroughbred Sires
American Champion Thoroughbred broodmare sires
American Grade 1 Stakes winners
Thoroughbred family 13-c
Chefs-de-Race
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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"
] |
[
"Tom Seaver",
"300 wins"
] |
C_34af306b3c494fa5b6ae0b20ca015a0f_0
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What happened in April 22?
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What happened in April 22 to Tom Seaver?
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Tom Seaver
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Seaver and the Mets were stunned on January 20, 1984 when he was claimed in a free-agent compensation draft by the Chicago White Sox. The team (especially GM Frank Cashen) had incorrectly assumed that no one would pursue a high-salaried, 39-year-old starting pitcher, and left him off the protected list. Faced with either reporting to the White Sox or retiring, Seaver chose the former. The result for the Mets was an opening in the starting rotation that allowed Dwight Gooden to be part of the team. Seaver pitched two and a half seasons in Chicago and recorded his last shutout on July 19, 1985 against the visiting Indians. In an anomaly, Seaver won two games on May 9, 1984; he pitched the 25th and final inning of a game suspended the day before, picking up the win in relief against the Milwaukee Brewers, before starting and winning the day's regularly scheduled game, also facing the Brewers. After Seaver's 298th win, a reporter had pointed out to White Sox catcher Carlton Fisk that following his upcoming start in Boston, Seaver's next scheduled start would be in New York, and that the possibility existed that he might achieve the mark there. Fisk emphatically stated that Seaver would win in Boston, and then would win his 300th. On August 4, 1985, Seaver recorded his 300th victory at Yankee Stadium against the Yankees, throwing a complete game 4-1 victory. Don Baylor was the tying run at the plate; he hit a fly ball to left field for the final out of the game. Coincidentally, it was Phil Rizzuto Day - Seaver would later become Rizzuto's broadcast partner for Yankee games. Lindsey Nelson, a Mets radio and TV announcer during Seaver's Mets days, called the final out for Yankees TV flagship WPIX. CANNOTANSWER
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CANNOTANSWER
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George Thomas Seaver (November 17, 1944 – August 31, 2020), nicknamed "Tom Terrific" and "the Franchise", was an American professional baseball pitcher who played 20 seasons in Major League Baseball (MLB). He played for the New York Mets, Cincinnati Reds, Chicago White Sox, and Boston Red Sox from to . A longtime Met, Seaver played a significant role in their victory in the 1969 World Series over the Baltimore Orioles.
With the Mets, Seaver won the National League's (NL) Rookie of the Year Award in 1967, and won three NL Cy Young Awards as the league's best pitcher. He was a 12-time All-Star and ranks as the Mets' all-time leader in wins. During his MLB career, he compiled 311 wins, 3,640 strikeouts, 61 shutouts, and a 2.86 earned run average, and he threw a no-hitter in 1978.
In 1992, Seaver was inducted into the Baseball Hall of Fame by the highest percentage of votes ever recorded at the time. Along with Mike Piazza, he is one of two players wearing a New York Mets hat on his plaque in the Hall of Fame. Seaver's No. 41 was retired by the Mets in 1988, and New York City changed the address of Citi Field to 41 Seaver Way in 2019. Seaver is also a member of the New York Mets Hall of Fame and the Cincinnati Reds Hall of Fame.
Early life
Seaver was born in Fresno, California, to Betty Lee (née Cline) and Charles Henry Seaver. He attended Fresno High School and was a pitcher for the school's baseball team. Seaver compensated for his lack of size and strength by developing great control on the mound. Despite being an All-City basketball player, he hoped to play baseball in college. He joined the U.S. Marine Corps Reserve on June 28, 1962. He served with AIRFMFPAC 29 Palms, California, through July 1963. After six months of active duty in the reserve, Seaver enrolled at Fresno City College. He remained a part-time member of the reserve until his eight-year commitment ended in 1970.
The University of Southern California (USC) recruited Seaver to play college baseball. Unsure as to whether Seaver was worthy of a scholarship, USC sent him to pitch in Alaska for the Alaska Goldpanners of Fairbanks in the summer of 1964. After a stellar season, in which he pitched and won a game in the national tournament with a grand slam, USC head coach Rod Dedeaux awarded him a scholarship. As a sophomore in 1965, Seaver posted a 10–2 record for the Trojans, and he was selected in the tenth round of the 1965 Major League Baseball draft by the Los Angeles Dodgers. When Seaver asked for $70,000, however, the Dodgers passed.
In 1966, Seaver signed a professional contract with the Atlanta Braves, who had selected him in the first round of the secondary January draft, 20th overall. However, the contract was voided by Baseball Commissioner William Eckert because USC had played two exhibition games that year, although Seaver hadn't participated. He then intended to finish the college season, but because he had signed a pro contract, the NCAA ruled him ineligible. After Seaver's father complained to Eckert about the unfairness of the situation, and threatened a lawsuit, Eckert ruled that other teams could match the Braves' offer. The Mets were subsequently awarded his signing rights in a lottery drawing among the three teams (the Philadelphia Phillies and Cleveland Indians being the two others) that were willing to match the Braves' terms.
Professional playing career
Minor leagues (1966)
In 1966, Seaver was 12–12 with a 3.13 earned run average pitching in Class AAA with the Jacksonville Suns, the Mets' affiliate in the International League.
New York Mets (1967–1977)
Seaver made the Mets' roster in 1967, was named to the 1967 All-Star Game, and got the save by pitching a scoreless 15th inning. In his rookie season, Seaver was 16–13 for the last-place Mets, with 18 complete games, 170 strikeouts, and a 2.76 earned run average. Seaver was named the 1967 National League Rookie of the Year.
Seaver started for the Mets on Opening Day in 1968. He won 16 games again during that season, and recorded over 200 strikeouts for the first of nine consecutive seasons, but the Mets moved up only one spot in the standings, to ninth. In 1969, Seaver won a league-high 25 games, including nine consecutive complete-game victories. He won his first National League Cy Young Award. He also finished runner-up to Willie McCovey for the League's Most Valuable Player Award.
In front of a crowd of over 59,000 at New York's Shea Stadium on July 9, Seaver threw perfect innings against the division-leading Chicago Cubs. Rookie backup outfielder Jim Qualls broke up Seaver's bid for a perfect game when he lined a clean single to left field.
In the inaugural National League Championship Series, Seaver outlasted Atlanta's Phil Niekro in the first game for a 9–5 victory. Seaver was also the starter for Game One of the World Series, but lost a 4–1 decision to the Baltimore Orioles' Mike Cuellar. Seaver then pitched a 10-inning complete game for a 2–1 win in Game Four. The "Miracle Mets" won the series. At year's end, Seaver was presented with the Hickok Belt as the top professional athlete of the year and Sports Illustrated magazine's "Sportsman of the Year" award.
On April 22, 1970, Seaver set a major league record by striking out the final ten batters of the game in a 2–1 victory over the San Diego Padres at Shea Stadium. Al Ferrara, who had homered in the second inning for the Padres' run, accounted for both the first and the final strikeout of the streak. In addition to his ten consecutive strikeouts, Seaver tied Steve Carlton's major league record at the time, with 19 strikeouts in a nine-inning game. The Mets also won the game in which Carlton struck out 19, with Carlton victimized by Ron Swoboda's pair of 2-run homers in a 4–3 Mets' victory in St. Louis on September 15, 1969. (The record was later eclipsed by 20-strikeout games by Kerry Wood, Randy Johnson, Max Scherzer, and twice by Roger Clemens.) By mid-August, Seaver's record stood at 17–6 and he seemed well on his way to a second consecutive 20-victory season. But he only won one of his last ten starts, including four on short rest, to finish 18–12. Nonetheless, Seaver led the National League in both earned run average (2.82) and strikeouts (283).
In 1971, Seaver led the league in earned run average (1.76) and strikeouts (289 in 286 innings) while going 20–10. However, he finished second in the Cy Young balloting to Ferguson Jenkins of the Chicago Cubs, due to Jenkins' league-leading 24 wins, 325 innings pitched, and exceptional control numbers.
Seaver had four more 20-win seasons (20 in 1971, 21 in 1972, 22 in 1975, and 21 in 1977). He won two more Cy Young Awards (1973 and 1975, both with the Mets). Between 1970 and 1976, Seaver led the National League in strikeouts five times, while also finishing second in 1972 and third in 1974. Seaver also won three earned run average titles as a Met. Two famous quotes about Seaver are attributed to Reggie Jackson: "Blind men come to the park just to hear him pitch." The second was in the 1973 World series, with the Mets up 3 games to 2, and poised to win their second championship. Seaver started the game, but did not have his "arm" that day, and lost the game. Jackson is reported to have said "Seaver pitched with his heart that day." Seaver was known for his "drop and drive" overhand delivery, powered by his legs and trunk with his knee sinking to the ground.
Midnight Massacre
By , free agency had begun and contract negotiations between Mets' ownership and Seaver were not going well. Seaver wanted to renegotiate his contract to bring his salary in line with what other top pitchers were making, but chairman of the board M. Donald Grant, who by that time had been given carte blanche by Mets management to do what he wished, refused to budge. Longtime New York Daily News columnist Dick Young regularly wrote negative columns about Seaver's "greedy" demands. Seaver attempted to resolve the impasse by going to team owner Lorinda de Roulet, who along with general manager Joe McDonald, had negotiated in principle a three-year contract extension by mid-June. Before the contract could be signed, Young wrote an unattributed story in the Daily News saying that Seaver was being goaded by his wife to ask for more money because she was envious of Nolan Ryan making more money with the California Angels. Upon being informed of the story, Seaver informed de Roulet that he immediately wanted out, and asked McDonald to immediately trade him, feeling that he could not co-exist with Grant.
In one of two trades that New York's sports reporters dubbed "the Midnight Massacre" (the other involved struggling outfielder Dave Kingman), Seaver was traded to the Cincinnati Reds at the trading deadline, June 15, 1977, for pitcher Pat Zachry, minor league outfielder Steve Henderson, infielder Doug Flynn, and minor league outfielder Dan Norman.
Cincinnati Reds (1977–1982)
Seaver went 14–3 with the Reds and won 21 games in 1977, including an emotional 5–1 win over the Mets in his return to Shea Stadium. Seaver struck out 11 in the return, and also hit a double. He also received a lengthy ovation at the All-Star Game, held in New York's Yankee Stadium. His departure from New York sparked sustained negative fan reaction, as the Mets became the league's worst team, finishing in last place the next three seasons. Combined with the Yankees' resurgence in the market, attendance dipped in 1978, and plunged in 1979 to 9,740 per game. M. Donald Grant was fired after the 1978 season, and Joe McDonald was fired after the 1979 season following a sale of the team to publishing magnate Nelson Doubleday, Jr. In a sardonic nod to the general manager, Shea Stadium acquired the nickname "Grant's Tomb".
After having thrown five one-hitters for the Mets, including two games in which no-hit bids were broken up in the ninth inning, Seaver recorded a 4–0 no-hitter for the Reds in 1978 against the St. Louis Cardinals on June 16 at Riverfront Stadium. It was the only no-hitter of his professional career.
He led the Cincinnati pitching staff in 1979, when the Reds won the Western Division, and again in the strike-shortened 1981 season, when the Reds had the best record in the major leagues. In the latter season, Seaver, with his sterling 14–2 performance, was a close runner-up to Fernando Valenzuela for the 1981 Cy Young Award. (Seaver had finished third and fourth in two other previous years.) In 1981, during one of his two losses, Seaver recorded his 3,000th strikeout against Keith Hernandez of the St. Louis Cardinals. Then in 1982 he suffered through an injury-ridden campaign, finishing the season 5–13.
In six seasons with the Reds, Seaver was 75–46 with a 3.18 earned run average and 42 complete games in 158 starts.
Return to Mets (1983)
On December 16, 1982, Seaver was traded back to the Mets, for Charlie Puleo, Lloyd McClendon, and Jason Felice. On April 5, 1983, he tied Walter Johnson's major league record of 14 Opening Day starts, shutting out the Philadelphia Phillies for six innings in a 2–0 Mets win, but had a 9–14 record that season. The Mets exercised an option on Seaver's contract worth $750,000 for the 1984 season. Overall, in 12 seasons with the Mets, Seaver was 198–124 with a 2.57 earned run average in 3,045 innings with 171 complete games, winning three Cy Young awards, the 1969 World Series and the 1967 NL Rookie of the Year Award.
Chicago White Sox (1984–1986)
On January 20, 1984, the Chicago White Sox claimed Seaver from the Mets in a free-agent compensation draft. The Mets, especially general manager Frank Cashen incorrectly assumed that no one would pursue a high-salaried, 39-year-old starting pitcher and left him off the protected list.
Seaver pitched two and a half seasons in Chicago and recorded his last shutout on July 19, 1985, against the visiting Indians. In an anomaly, Seaver won two games on May 9, 1984; he pitched the 25th and final inning of a game suspended the day before, picking up the win in relief against the Milwaukee Brewers, before starting and winning the day's regularly scheduled game, also facing the Brewers.
On August 4, 1985, Seaver recorded his 300th victory at Yankee Stadium over the Yankees, throwing a complete game 4–1 victory.
In three seasons with the White Sox, Seaver was 33–28 with a 3.67 earned run average and 17 complete games in 81 appearances.
Boston Red Sox (1986)
Seaver started on Opening Day for the 16th and final time of his career in 1986. The White Sox traded Seaver to the Boston Red Sox for Steve Lyons in mid-season. Seaver's 311th and final win came on August 18, 1986, against the Minnesota Twins.
A knee injury prevented Seaver from appearing against the Mets in the World Series with the Red Sox, but he received among the loudest ovations during player introductions prior to Game 1. Roger Clemens attributes the time he shared with Seaver as teammates in 1986 as instrumental in helping him make the transition from thrower to pitcher. The Red Sox did not offer Seaver a contract to his liking for the 1987 season. His 1986 salary was $1 million; the Red Sox offered $500,000, which Seaver declined. When no new contract agreement was reached, Seaver was granted free agency on November 12, 1986.
Seaver was 5–7 with a 3.80 earned run average in 16 starts with Boston in 1986.
In 1987, the Mets starting rotation was decimated by injury and they sought help from Seaver. Though no contract was signed, Seaver joined the club on June 6, and was hit hard in an exhibition game against the Triple-A Tidewater Tides on June 11. After similarly poor outings on June 16 and 20, he announced his retirement, saying that, "there were no more pitches in this 42-year-old arm that were competitive. I've used them all up."
Career statistics
Source:
Awards and honors
The Mets retired Seaver's uniform number 41 in 1988 in a Tom Seaver Day ceremony, making him the franchise's first player to be so honored.
Seaver was elected to the Baseball Hall of Fame on January 7, 1992, with the then-highest percentage of votes with 98.84%. He was named on 425 out of 430 ballots. Three of the five ballots that had omitted Seaver were blank, cast by writers protesting the Hall's decision to make Pete Rose ineligible for consideration. One ballot was sent by a writer who was recovering from open-heart surgery and failed to notice Seaver's name. The fifth "no" vote was cast by a writer who said he never voted for any player in their first year of eligibility. Seaver is one of two players enshrined in the Hall of Fame with a Mets cap on his plaque, along with Mike Piazza. He was also inducted into the New York Mets Hall of Fame, the Marine Corps Sports Hall of Fame, and the Cincinnati Reds Hall of Fame.
On September 28, 2006, Seaver was chosen as the "Hometown Hero" for the Mets franchise by ESPN. Seaver made a return to Shea Stadium during the "Shea Goodbye" closing ceremony on September 28, 2008, where he threw out the final pitch in the history of the stadium to Piazza. Along with Piazza he opened the Mets' new home, Citi Field with the ceremonial first pitch on April 13, 2009.
The 2013 Major League Baseball All-Star Game was dedicated to Seaver. He concluded the introduction of the starting lineup ceremonies by throwing out the ceremonial first pitch. Mets player David Wright participated. In 2019, the New York City renamed the street outside Citi Field from 126th Street to Seaver Way and changed the ballpark's address to 41 Seaver Way, a salute of the number he wore throughout his career.
In 2017, Seaver was awarded the Bob Feller Act of Valor Award as the Hall of Fame recipient.
Legacy
Only Seaver and Walter Johnson have 300 wins, 3,000 strikeouts, and an earned run average under 3.00. Seaver's 16 Opening-Day starts are an MLB record. At the time of his retirement, he was third on MLB's all-time strikeout list (3,640), trailing only his former teammate Nolan Ryan and Steve Carlton; he currently ranks sixth all time. Seaver is tied with Ryan for the seventh-most shutouts in MLB history (61). His feat of striking out ten consecutive batters has only been matched once, by Aaron Nola in 2021. He also holds the record for consecutive 200-strikeout seasons with nine (1968–1976). In 1999, Seaver ranked 32nd on Sporting News list of the 100 Greatest Baseball Players, the only player to have spent a majority of his career with the Mets to make the list. In 2016, ESPN.com ranked Seaver 34th on its list of the greatest MLB players, while The Athletic ranked him the 41st-greatest player in 2020.
Seaver could also help himself at the plate. A decent hitter and proficient bunter, Seaver hit 12 home runs during his career, along with a relatively solid lifetime batting average, for a pitcher, of .154.
Seaver approached Hank Aaron before his first All-Star Game in 1967 and asked Aaron for his autograph. Seaver felt the need to introduce himself to Aaron, as he was certain "Hammerin' Hank" would not know who he was. Aaron replied to Seaver, "Kid, I know who you are, and before your career is over, I guarantee you everyone in this stadium will, too."
In 2020, Bill Madden wrote Tom Seaver, A Terrific Life in honor of his friend.
Broadcasting career
Seaver's television broadcasting experience dated back to his playing career, when he was invited to serve as a World Series analyst for ABC in and for NBC in , , and . Also while an active player, Seaver called the 1981 National League Division Series between Montreal and Philadelphia and that year's National League Championship Series alongside Dick Enberg for NBC.
After retiring as a player, Seaver worked as a television color commentator for the Mets, the New York Yankees, and with Vin Scully in 1989 for NBC. Seaver replaced Joe Garagiola as NBC's lead baseball color commentator, which led to him calling the 1989 All-Star Game and National League Championship Series. He worked as an analyst for Yankees' telecasts on WPIX from 1989 to 1993 and for Mets telecasts on WPIX from 1999 to 2005, making him one of three sportscasters to be regular announcers for both teams; the others are Fran Healy and Tim McCarver.
Personal life and death
Seaver married Nancy Lynn McIntyre on June 9, 1966. They were the parents of two daughters, Sarah and Annie. They lived in Calistoga, California, where Seaver started his own 3.5-acre (1.4 ha) vineyard, Seaver Family Vineyards, on his 116-acre (47 ha) estate, in 2002. His first vintage was produced in 2005. He presented his two cabernets, "Nancy's Fancy" and "GTS," at an April 2010 wine-tasting event in SoHo, to positive reviews.
His media nickname referred to the cartoon character Tom Terrific. In 2019, NFL quarterback Tom Brady was denied the trademark "Tom Terrific", when the United States Patent and Trademark Office said it "may falsely suggest a connection with Tom Seaver".
In 2013, it was reported that Seaver suffered from memory loss, not even remembering long-term acquaintances and experiencing symptoms of "sleep disorder, nausea, and a general overall feeling of chemical imbalance". According to former teammate Bud Harrelson, Seaver was "otherwise doing well". On March 7, 2019, Seaver's family announced that he had dementia and was retiring from public life.
Seaver died in his sleep as a result of complications from Lewy body dementia and COVID-19 on August 31, 2020, during the COVID-19 pandemic in California. He was 75.
See also
300 win club
3,000 strikeout club
List of celebrities who own wineries and vineyards
List of Major League Baseball career wins leaders
List of Major League Baseball individual streaks
List of Major League Baseball no-hitters
List of Major League Baseball single-game strikeout leaders
Major League Baseball titles leaders
Explanatory footnotes
References
External links
Tom Seaver at SABR (Baseball Biography Project)
Tom Seaver at Baseball Almanac
Tom Seaver at Baseball Library
Tom Seaver at Ultimate Mets Database
1944 births
2020 deaths
Baseball players from California
Boston Red Sox players
Chicago White Sox players
Cincinnati Reds players
Cy Young Award winners
Deaths from the COVID-19 pandemic in California
Neurological disease deaths in California
Deaths from Lewy body dementia
Fresno City Rams baseball players
Jacksonville Suns players
Major League Baseball broadcasters
Major League Baseball pitchers
Major League Baseball players with retired numbers
Major League Baseball Rookie of the Year Award winners
Military personnel from California
National Baseball Hall of Fame inductees
National League All-Stars
National League ERA champions
National League strikeout champions
National League wins champions
New York Mets announcers
New York Mets players
New York Yankees announcers
People from Calistoga, California
Sportspeople from Fresno, California
United States Marine Corps reservists
USC Trojans baseball players
| false |
[
"Don Juan Manuel's Tales of Count Lucanor, in Spanish Libro de los ejemplos del conde Lucanor y de Patronio (Book of the Examples of Count Lucanor and of Patronio), also commonly known as El Conde Lucanor, Libro de Patronio, or Libro de los ejemplos (original Old Castilian: Libro de los enxiemplos del Conde Lucanor et de Patronio), is one of the earliest works of prose in Castilian Spanish. It was first written in 1335.\n\nThe book is divided into four parts. The first and most well-known part is a series of 51 short stories (some no more than a page or two) drawn from various sources, such as Aesop and other classical writers, and Arabic folktales.\n\nTales of Count Lucanor was first printed in 1575 when it was published at Seville under the auspices of Argote de Molina. It was again printed at Madrid in 1642, after which it lay forgotten for nearly two centuries.\n\nPurpose and structure\n\nA didactic, moralistic purpose, which would color so much of the Spanish literature to follow (see Novela picaresca), is the mark of this book. Count Lucanor engages in conversation with his advisor Patronio, putting to him a problem (\"Some man has made me a proposition...\" or \"I fear that such and such person intends to...\") and asking for advice. Patronio responds always with the greatest humility, claiming not to wish to offer advice to so illustrious a person as the Count, but offering to tell him a story of which the Count's problem reminds him. (Thus, the stories are \"examples\" [ejemplos] of wise action.) At the end he advises the Count to do as the protagonist of his story did.\n\nEach chapter ends in more or less the same way, with slight variations on: \"And this pleased the Count greatly and he did just so, and found it well. And Don Johán (Juan) saw that this example was very good, and had it written in this book, and composed the following verses.\" A rhymed couplet closes, giving the moral of the story.\n\nOrigin of stories and influence on later literature\nMany of the stories written in the book are the first examples written in a modern European language of various stories, which many other writers would use in the proceeding centuries. Many of the stories he included were themselves derived from other stories, coming from western and Arab sources.\n\nShakespeare's The Taming of the Shrew has the basic elements of Tale 35, \"What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\".\n\nTale 32, \"What Happened to the King and the Tricksters Who Made Cloth\" tells the story that Hans Christian Andersen made popular as The Emperor's New Clothes.\n\nStory 7, \"What Happened to a Woman Named Truhana\", a version of Aesop's The Milkmaid and Her Pail, was claimed by Max Müller to originate in the Hindu cycle Panchatantra.\n\nTale 2, \"What happened to a good Man and his Son, leading a beast to market,\" is the familiar fable The miller, his son and the donkey.\n\nIn 2016, Baroque Decay released a game under the name \"The Count Lucanor\". As well as some protagonists' names, certain events from the books inspired past events in the game.\n\nThe stories\n\nThe book opens with a prologue which introduces the characters of the Count and Patronio. The titles in the following list are those given in Keller and Keating's 1977 translation into English. James York's 1868 translation into English gives a significantly different ordering of the stories and omits the fifty-first.\n\n What Happened to a King and His Favorite \n What Happened to a Good Man and His Son \n How King Richard of England Leapt into the Sea against the Moors\n What a Genoese Said to His Soul When He Was about to Die \n What Happened to a Fox and a Crow Who Had a Piece of Cheese in His Beak\n How the Swallow Warned the Other Birds When She Saw Flax Being Sown \n What Happened to a Woman Named Truhana \n What Happened to a Man Whose Liver Had to Be Washed \n What Happened to Two Horses Which Were Thrown to the Lion \n What Happened to a Man Who on Account of Poverty and Lack of Other Food Was Eating Bitter Lentils \n What Happened to a Dean of Santiago de Compostela and Don Yllán, the Grand Master of Toledo\n What Happened to the Fox and the Rooster \n What Happened to a Man Who Was Hunting Partridges \n The Miracle of Saint Dominick When He Preached against the Usurer \n What Happened to Lorenzo Suárez at the Siege of Seville \n The Reply that count Fernán González Gave to His Relative Núño Laynes \n What Happened to a Very Hungry Man Who Was Half-heartedly Invited to Dinner \n What Happened to Pero Meléndez de Valdés When He Broke His Leg \n What Happened to the Crows and the Owls \n What Happened to a King for Whom a Man Promised to Perform Alchemy \n What Happened to a Young King and a Philosopher to Whom his Father Commended Him \n What Happened to the Lion and the Bull \n How the Ants Provide for Themselves \n What Happened to the King Who Wanted to Test His Three Sons \n What Happened to the Count of Provence and How He Was Freed from Prison by the Advice of Saladin\n What Happened to the Tree of Lies \n What Happened to an Emperor and to Don Alvarfáñez Minaya and Their Wives \n What Happened in Granada to Don Lorenzo Suárez Gallinato When He Beheaded the Renegade Chaplain \n What Happened to a Fox Who Lay down in the Street to Play Dead \n What Happened to King Abenabet of Seville and Ramayquía His Wife \n How a Cardinal Judged between the Canons of Paris and the Friars Minor \n What Happened to the King and the Tricksters Who Made Cloth \n What Happened to Don Juan Manuel's Saker Falcon and an Eagle and a Heron \n What Happened to a Blind Man Who Was Leading Another \n What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\n What Happened to a Merchant When He Found His Son and His Wife Sleeping Together \n What Happened to Count Fernán González with His Men after He Had Won the Battle of Hacinas \n What Happened to a Man Who Was Loaded down with Precious Stones and Drowned in the River \n What Happened to a Man and a Swallow and a Sparrow \n Why the Seneschal of Carcassonne Lost His Soul \n What Happened to a King of Córdova Named Al-Haquem \n What Happened to a Woman of Sham Piety \n What Happened to Good and Evil and the Wise Man and the Madman \n What Happened to Don Pero Núñez the Loyal, to Don Ruy González de Zavallos, and to Don Gutier Roiz de Blaguiello with Don Rodrigo the Generous \n What Happened to a Man Who Became the Devil's Friend and Vassal \n What Happened to a Philosopher who by Accident Went down a Street Where Prostitutes Lived \n What Befell a Moor and His Sister Who Pretended That She Was Timid \n What Happened to a Man Who Tested His Friends \n What Happened to the Man Whom They Cast out Naked on an Island When They Took away from Him the Kingdom He Ruled \n What Happened to Saladin and a Lady, the Wife of a Knight Who Was His Vassal \n What Happened to a Christian King Who Was Very Powerful and Haughty\n\nReferences\n\nNotes\n\nBibliography\n\n Sturm, Harlan\n\n Wacks, David\n\nExternal links\n\nThe Internet Archive provides free access to the 1868 translation by James York.\nJSTOR has the to the 1977 translation by Keller and Keating.\nSelections in English and Spanish (pedagogical edition) with introduction, notes, and bibliography in Open Iberia/América (open access teaching anthology)\n\n14th-century books\nSpanish literature\n1335 books",
"\"What Happened to Us\" is a song by Australian recording artist Jessica Mauboy, featuring English recording artist Jay Sean. It was written by Sean, Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim and Israel Cruz. \"What Happened to Us\" was leaked online in October 2010, and was released on 10 March 2011, as the third single from Mauboy's second studio album, Get 'Em Girls (2010). The song received positive reviews from critics.\n\nA remix of \"What Happened to Us\" made by production team OFM, was released on 11 April 2011. A different version of the song which features Stan Walker, was released on 29 May 2011. \"What Happened to Us\" charted on the ARIA Singles Chart at number 14 and was certified platinum by the Australian Recording Industry Association (ARIA). An accompanying music video was directed by Mark Alston, and reminisces on a former relationship between Mauboy and Sean.\n\nProduction and release\n\n\"What Happened to Us\" was written by Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim, Israel Cruz and Jay Sean. It was produced by Skaller, Cruz, Rohaim and Bobby Bass. The song uses C, D, and B minor chords in the chorus. \"What Happened to Us\" was sent to contemporary hit radio in Australia on 14 February 2011. The cover art for the song was revealed on 22 February on Mauboy's official Facebook page. A CD release was available for purchase via her official website on 10 March, for one week only. It was released digitally the following day.\n\nReception\nMajhid Heath from ABC Online Indigenous called the song a \"Jordin Sparks-esque duet\", and wrote that it \"has a nice innocence to it that rings true to the experience of losing a first love.\" Chris Urankar from Nine to Five wrote that it as a \"mid-tempo duet ballad\" which signifies Mauboy's strength as a global player. On 21 March 2011, \"What Happened to Us\" debuted at number 30 on the ARIA Singles Chart, and peaked at number 14 the following week. The song was certified platinum by the Australian Recording Industry Association (ARIA), for selling 70,000 copies. \"What Happened to Us\" spent a total of ten weeks in the ARIA top fifty.\n\nMusic video\n\nBackground\nThe music video for the song was shot in the Elizabeth Bay House in Sydney on 26 November 2010. The video was shot during Sean's visit to Australia for the Summerbeatz tour. During an interview with The Daily Telegraph while on the set of the video, Sean said \"the song is sick! ... Jessica's voice is amazing and we're shooting [the video] in this ridiculously beautiful mansion overlooking the harbour.\" The video was directed by Mark Alston, who had previously directed the video for Mauboy's single \"Let Me Be Me\" (2009). It premiered on YouTube on 10 February 2011.\n\nSynopsis and reception\nThe video begins showing Mauboy who appears to be sitting on a yellow antique couch in a mansion, wearing a purple dress. As the video progresses, scenes of memories are displayed of Mauboy and her love interest, played by Sean, spending time there previously. It then cuts to the scenes where Sean appears in the main entrance room of the mansion. The final scene shows Mauboy outdoors in a gold dress, surrounded by green grass and trees. She is later joined by Sean who appears in a black suit and a white shirt, and together they sing the chorus of the song to each other. David Lim of Feed Limmy wrote that the video is \"easily the best thing our R&B princess has committed to film – ever\" and praised the \"mansion and wondrous interior décor\". He also commended Mauboy for choosing Australian talent to direct the video instead of American directors, which she had used for her previous two music videos. Since its release, the video has received over two million views on Vevo.\n\nLive performances\nMauboy performed \"What Happened to Us\" live for the first time during her YouTube Live Sessions program on 4 December 2010. She also appeared on Adam Hills in Gordon Street Tonight on 23 February 2011 for an interview and later performed the song. On 15 March 2011, Mauboy performed \"What Happened to Us\" on Sunrise. She also performed the song with Stan Walker during the Australian leg of Chris Brown's F.A.M.E. Tour in April 2011. Mauboy and Walker later performed \"What Happened to Us\" on Dancing with the Stars Australia on 29 May 2011. From November 2013 to February 2014, \"What Happened to Us\" was part of the set list of the To the End of the Earth Tour, Mauboy's second headlining tour of Australia, with Nathaniel Willemse singing Sean's part.\n\nTrack listing\n\nDigital download\n \"What Happened to Us\" featuring Jay Sean – 3:19\n \"What Happened to Us\" featuring Jay Sean (Sgt Slick Remix) – 6:33\n \"What Happened to Us\" featuring Jay Sean (Just Witness Remix) – 3:45\n\nCD single\n \"What Happened to Us\" featuring Jay Sean (Album Version) – 3:19\n \"What Happened to Us\" featuring Jay Sean (Sgt Slick Remix) – 6:33\n \"What Happened to Us\" featuring Jay Sean (OFM Remix) – 3:39\n\nDigital download – Remix\n \"What Happened to Us\" featuring Jay Sean (OFM Remix) – 3:38\n\nDigital download\n \"What Happened to Us\" featuring Stan Walker – 3:20\n\nPersonnel\nSongwriting – Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim, Israel Cruz, Jay Sean\nProduction – Jeremy Skaller, Bobby Bass\nAdditional production – Israel Cruz, Khaled Rohaim\nLead vocals – Jessica Mauboy, Jay Sean\nMixing – Phil Tan\nAdditional mixing – Damien Lewis\nMastering – Tom Coyne \nSource:\n\nCharts\n\nWeekly chart\n\nYear-end chart\n\nCertification\n\nRadio dates and release history\n\nReferences\n\n2010 songs\n2011 singles\nJessica Mauboy songs\nJay Sean songs\nSongs written by Billy Steinberg\nSongs written by Jay Sean\nSongs written by Josh Alexander\nSongs written by Israel Cruz\nVocal duets\nSony Music Australia singles\nSongs written by Khaled Rohaim"
] |
[
"Tom Seaver",
"300 wins",
"What happened in April 22?",
"I don't know."
] |
C_34af306b3c494fa5b6ae0b20ca015a0f_0
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Who was Tom Seaver?
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Who was Tom Seaver who won 300 wins?
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Tom Seaver
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Seaver and the Mets were stunned on January 20, 1984 when he was claimed in a free-agent compensation draft by the Chicago White Sox. The team (especially GM Frank Cashen) had incorrectly assumed that no one would pursue a high-salaried, 39-year-old starting pitcher, and left him off the protected list. Faced with either reporting to the White Sox or retiring, Seaver chose the former. The result for the Mets was an opening in the starting rotation that allowed Dwight Gooden to be part of the team. Seaver pitched two and a half seasons in Chicago and recorded his last shutout on July 19, 1985 against the visiting Indians. In an anomaly, Seaver won two games on May 9, 1984; he pitched the 25th and final inning of a game suspended the day before, picking up the win in relief against the Milwaukee Brewers, before starting and winning the day's regularly scheduled game, also facing the Brewers. After Seaver's 298th win, a reporter had pointed out to White Sox catcher Carlton Fisk that following his upcoming start in Boston, Seaver's next scheduled start would be in New York, and that the possibility existed that he might achieve the mark there. Fisk emphatically stated that Seaver would win in Boston, and then would win his 300th. On August 4, 1985, Seaver recorded his 300th victory at Yankee Stadium against the Yankees, throwing a complete game 4-1 victory. Don Baylor was the tying run at the plate; he hit a fly ball to left field for the final out of the game. Coincidentally, it was Phil Rizzuto Day - Seaver would later become Rizzuto's broadcast partner for Yankee games. Lindsey Nelson, a Mets radio and TV announcer during Seaver's Mets days, called the final out for Yankees TV flagship WPIX. CANNOTANSWER
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Seaver pitched two and a half seasons in Chicago and recorded his last shutout on July 19, 1985 against the visiting Indians.
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George Thomas Seaver (November 17, 1944 – August 31, 2020), nicknamed "Tom Terrific" and "the Franchise", was an American professional baseball pitcher who played 20 seasons in Major League Baseball (MLB). He played for the New York Mets, Cincinnati Reds, Chicago White Sox, and Boston Red Sox from to . A longtime Met, Seaver played a significant role in their victory in the 1969 World Series over the Baltimore Orioles.
With the Mets, Seaver won the National League's (NL) Rookie of the Year Award in 1967, and won three NL Cy Young Awards as the league's best pitcher. He was a 12-time All-Star and ranks as the Mets' all-time leader in wins. During his MLB career, he compiled 311 wins, 3,640 strikeouts, 61 shutouts, and a 2.86 earned run average, and he threw a no-hitter in 1978.
In 1992, Seaver was inducted into the Baseball Hall of Fame by the highest percentage of votes ever recorded at the time. Along with Mike Piazza, he is one of two players wearing a New York Mets hat on his plaque in the Hall of Fame. Seaver's No. 41 was retired by the Mets in 1988, and New York City changed the address of Citi Field to 41 Seaver Way in 2019. Seaver is also a member of the New York Mets Hall of Fame and the Cincinnati Reds Hall of Fame.
Early life
Seaver was born in Fresno, California, to Betty Lee (née Cline) and Charles Henry Seaver. He attended Fresno High School and was a pitcher for the school's baseball team. Seaver compensated for his lack of size and strength by developing great control on the mound. Despite being an All-City basketball player, he hoped to play baseball in college. He joined the U.S. Marine Corps Reserve on June 28, 1962. He served with AIRFMFPAC 29 Palms, California, through July 1963. After six months of active duty in the reserve, Seaver enrolled at Fresno City College. He remained a part-time member of the reserve until his eight-year commitment ended in 1970.
The University of Southern California (USC) recruited Seaver to play college baseball. Unsure as to whether Seaver was worthy of a scholarship, USC sent him to pitch in Alaska for the Alaska Goldpanners of Fairbanks in the summer of 1964. After a stellar season, in which he pitched and won a game in the national tournament with a grand slam, USC head coach Rod Dedeaux awarded him a scholarship. As a sophomore in 1965, Seaver posted a 10–2 record for the Trojans, and he was selected in the tenth round of the 1965 Major League Baseball draft by the Los Angeles Dodgers. When Seaver asked for $70,000, however, the Dodgers passed.
In 1966, Seaver signed a professional contract with the Atlanta Braves, who had selected him in the first round of the secondary January draft, 20th overall. However, the contract was voided by Baseball Commissioner William Eckert because USC had played two exhibition games that year, although Seaver hadn't participated. He then intended to finish the college season, but because he had signed a pro contract, the NCAA ruled him ineligible. After Seaver's father complained to Eckert about the unfairness of the situation, and threatened a lawsuit, Eckert ruled that other teams could match the Braves' offer. The Mets were subsequently awarded his signing rights in a lottery drawing among the three teams (the Philadelphia Phillies and Cleveland Indians being the two others) that were willing to match the Braves' terms.
Professional playing career
Minor leagues (1966)
In 1966, Seaver was 12–12 with a 3.13 earned run average pitching in Class AAA with the Jacksonville Suns, the Mets' affiliate in the International League.
New York Mets (1967–1977)
Seaver made the Mets' roster in 1967, was named to the 1967 All-Star Game, and got the save by pitching a scoreless 15th inning. In his rookie season, Seaver was 16–13 for the last-place Mets, with 18 complete games, 170 strikeouts, and a 2.76 earned run average. Seaver was named the 1967 National League Rookie of the Year.
Seaver started for the Mets on Opening Day in 1968. He won 16 games again during that season, and recorded over 200 strikeouts for the first of nine consecutive seasons, but the Mets moved up only one spot in the standings, to ninth. In 1969, Seaver won a league-high 25 games, including nine consecutive complete-game victories. He won his first National League Cy Young Award. He also finished runner-up to Willie McCovey for the League's Most Valuable Player Award.
In front of a crowd of over 59,000 at New York's Shea Stadium on July 9, Seaver threw perfect innings against the division-leading Chicago Cubs. Rookie backup outfielder Jim Qualls broke up Seaver's bid for a perfect game when he lined a clean single to left field.
In the inaugural National League Championship Series, Seaver outlasted Atlanta's Phil Niekro in the first game for a 9–5 victory. Seaver was also the starter for Game One of the World Series, but lost a 4–1 decision to the Baltimore Orioles' Mike Cuellar. Seaver then pitched a 10-inning complete game for a 2–1 win in Game Four. The "Miracle Mets" won the series. At year's end, Seaver was presented with the Hickok Belt as the top professional athlete of the year and Sports Illustrated magazine's "Sportsman of the Year" award.
On April 22, 1970, Seaver set a major league record by striking out the final ten batters of the game in a 2–1 victory over the San Diego Padres at Shea Stadium. Al Ferrara, who had homered in the second inning for the Padres' run, accounted for both the first and the final strikeout of the streak. In addition to his ten consecutive strikeouts, Seaver tied Steve Carlton's major league record at the time, with 19 strikeouts in a nine-inning game. The Mets also won the game in which Carlton struck out 19, with Carlton victimized by Ron Swoboda's pair of 2-run homers in a 4–3 Mets' victory in St. Louis on September 15, 1969. (The record was later eclipsed by 20-strikeout games by Kerry Wood, Randy Johnson, Max Scherzer, and twice by Roger Clemens.) By mid-August, Seaver's record stood at 17–6 and he seemed well on his way to a second consecutive 20-victory season. But he only won one of his last ten starts, including four on short rest, to finish 18–12. Nonetheless, Seaver led the National League in both earned run average (2.82) and strikeouts (283).
In 1971, Seaver led the league in earned run average (1.76) and strikeouts (289 in 286 innings) while going 20–10. However, he finished second in the Cy Young balloting to Ferguson Jenkins of the Chicago Cubs, due to Jenkins' league-leading 24 wins, 325 innings pitched, and exceptional control numbers.
Seaver had four more 20-win seasons (20 in 1971, 21 in 1972, 22 in 1975, and 21 in 1977). He won two more Cy Young Awards (1973 and 1975, both with the Mets). Between 1970 and 1976, Seaver led the National League in strikeouts five times, while also finishing second in 1972 and third in 1974. Seaver also won three earned run average titles as a Met. Two famous quotes about Seaver are attributed to Reggie Jackson: "Blind men come to the park just to hear him pitch." The second was in the 1973 World series, with the Mets up 3 games to 2, and poised to win their second championship. Seaver started the game, but did not have his "arm" that day, and lost the game. Jackson is reported to have said "Seaver pitched with his heart that day." Seaver was known for his "drop and drive" overhand delivery, powered by his legs and trunk with his knee sinking to the ground.
Midnight Massacre
By , free agency had begun and contract negotiations between Mets' ownership and Seaver were not going well. Seaver wanted to renegotiate his contract to bring his salary in line with what other top pitchers were making, but chairman of the board M. Donald Grant, who by that time had been given carte blanche by Mets management to do what he wished, refused to budge. Longtime New York Daily News columnist Dick Young regularly wrote negative columns about Seaver's "greedy" demands. Seaver attempted to resolve the impasse by going to team owner Lorinda de Roulet, who along with general manager Joe McDonald, had negotiated in principle a three-year contract extension by mid-June. Before the contract could be signed, Young wrote an unattributed story in the Daily News saying that Seaver was being goaded by his wife to ask for more money because she was envious of Nolan Ryan making more money with the California Angels. Upon being informed of the story, Seaver informed de Roulet that he immediately wanted out, and asked McDonald to immediately trade him, feeling that he could not co-exist with Grant.
In one of two trades that New York's sports reporters dubbed "the Midnight Massacre" (the other involved struggling outfielder Dave Kingman), Seaver was traded to the Cincinnati Reds at the trading deadline, June 15, 1977, for pitcher Pat Zachry, minor league outfielder Steve Henderson, infielder Doug Flynn, and minor league outfielder Dan Norman.
Cincinnati Reds (1977–1982)
Seaver went 14–3 with the Reds and won 21 games in 1977, including an emotional 5–1 win over the Mets in his return to Shea Stadium. Seaver struck out 11 in the return, and also hit a double. He also received a lengthy ovation at the All-Star Game, held in New York's Yankee Stadium. His departure from New York sparked sustained negative fan reaction, as the Mets became the league's worst team, finishing in last place the next three seasons. Combined with the Yankees' resurgence in the market, attendance dipped in 1978, and plunged in 1979 to 9,740 per game. M. Donald Grant was fired after the 1978 season, and Joe McDonald was fired after the 1979 season following a sale of the team to publishing magnate Nelson Doubleday, Jr. In a sardonic nod to the general manager, Shea Stadium acquired the nickname "Grant's Tomb".
After having thrown five one-hitters for the Mets, including two games in which no-hit bids were broken up in the ninth inning, Seaver recorded a 4–0 no-hitter for the Reds in 1978 against the St. Louis Cardinals on June 16 at Riverfront Stadium. It was the only no-hitter of his professional career.
He led the Cincinnati pitching staff in 1979, when the Reds won the Western Division, and again in the strike-shortened 1981 season, when the Reds had the best record in the major leagues. In the latter season, Seaver, with his sterling 14–2 performance, was a close runner-up to Fernando Valenzuela for the 1981 Cy Young Award. (Seaver had finished third and fourth in two other previous years.) In 1981, during one of his two losses, Seaver recorded his 3,000th strikeout against Keith Hernandez of the St. Louis Cardinals. Then in 1982 he suffered through an injury-ridden campaign, finishing the season 5–13.
In six seasons with the Reds, Seaver was 75–46 with a 3.18 earned run average and 42 complete games in 158 starts.
Return to Mets (1983)
On December 16, 1982, Seaver was traded back to the Mets, for Charlie Puleo, Lloyd McClendon, and Jason Felice. On April 5, 1983, he tied Walter Johnson's major league record of 14 Opening Day starts, shutting out the Philadelphia Phillies for six innings in a 2–0 Mets win, but had a 9–14 record that season. The Mets exercised an option on Seaver's contract worth $750,000 for the 1984 season. Overall, in 12 seasons with the Mets, Seaver was 198–124 with a 2.57 earned run average in 3,045 innings with 171 complete games, winning three Cy Young awards, the 1969 World Series and the 1967 NL Rookie of the Year Award.
Chicago White Sox (1984–1986)
On January 20, 1984, the Chicago White Sox claimed Seaver from the Mets in a free-agent compensation draft. The Mets, especially general manager Frank Cashen incorrectly assumed that no one would pursue a high-salaried, 39-year-old starting pitcher and left him off the protected list.
Seaver pitched two and a half seasons in Chicago and recorded his last shutout on July 19, 1985, against the visiting Indians. In an anomaly, Seaver won two games on May 9, 1984; he pitched the 25th and final inning of a game suspended the day before, picking up the win in relief against the Milwaukee Brewers, before starting and winning the day's regularly scheduled game, also facing the Brewers.
On August 4, 1985, Seaver recorded his 300th victory at Yankee Stadium over the Yankees, throwing a complete game 4–1 victory.
In three seasons with the White Sox, Seaver was 33–28 with a 3.67 earned run average and 17 complete games in 81 appearances.
Boston Red Sox (1986)
Seaver started on Opening Day for the 16th and final time of his career in 1986. The White Sox traded Seaver to the Boston Red Sox for Steve Lyons in mid-season. Seaver's 311th and final win came on August 18, 1986, against the Minnesota Twins.
A knee injury prevented Seaver from appearing against the Mets in the World Series with the Red Sox, but he received among the loudest ovations during player introductions prior to Game 1. Roger Clemens attributes the time he shared with Seaver as teammates in 1986 as instrumental in helping him make the transition from thrower to pitcher. The Red Sox did not offer Seaver a contract to his liking for the 1987 season. His 1986 salary was $1 million; the Red Sox offered $500,000, which Seaver declined. When no new contract agreement was reached, Seaver was granted free agency on November 12, 1986.
Seaver was 5–7 with a 3.80 earned run average in 16 starts with Boston in 1986.
In 1987, the Mets starting rotation was decimated by injury and they sought help from Seaver. Though no contract was signed, Seaver joined the club on June 6, and was hit hard in an exhibition game against the Triple-A Tidewater Tides on June 11. After similarly poor outings on June 16 and 20, he announced his retirement, saying that, "there were no more pitches in this 42-year-old arm that were competitive. I've used them all up."
Career statistics
Source:
Awards and honors
The Mets retired Seaver's uniform number 41 in 1988 in a Tom Seaver Day ceremony, making him the franchise's first player to be so honored.
Seaver was elected to the Baseball Hall of Fame on January 7, 1992, with the then-highest percentage of votes with 98.84%. He was named on 425 out of 430 ballots. Three of the five ballots that had omitted Seaver were blank, cast by writers protesting the Hall's decision to make Pete Rose ineligible for consideration. One ballot was sent by a writer who was recovering from open-heart surgery and failed to notice Seaver's name. The fifth "no" vote was cast by a writer who said he never voted for any player in their first year of eligibility. Seaver is one of two players enshrined in the Hall of Fame with a Mets cap on his plaque, along with Mike Piazza. He was also inducted into the New York Mets Hall of Fame, the Marine Corps Sports Hall of Fame, and the Cincinnati Reds Hall of Fame.
On September 28, 2006, Seaver was chosen as the "Hometown Hero" for the Mets franchise by ESPN. Seaver made a return to Shea Stadium during the "Shea Goodbye" closing ceremony on September 28, 2008, where he threw out the final pitch in the history of the stadium to Piazza. Along with Piazza he opened the Mets' new home, Citi Field with the ceremonial first pitch on April 13, 2009.
The 2013 Major League Baseball All-Star Game was dedicated to Seaver. He concluded the introduction of the starting lineup ceremonies by throwing out the ceremonial first pitch. Mets player David Wright participated. In 2019, the New York City renamed the street outside Citi Field from 126th Street to Seaver Way and changed the ballpark's address to 41 Seaver Way, a salute of the number he wore throughout his career.
In 2017, Seaver was awarded the Bob Feller Act of Valor Award as the Hall of Fame recipient.
Legacy
Only Seaver and Walter Johnson have 300 wins, 3,000 strikeouts, and an earned run average under 3.00. Seaver's 16 Opening-Day starts are an MLB record. At the time of his retirement, he was third on MLB's all-time strikeout list (3,640), trailing only his former teammate Nolan Ryan and Steve Carlton; he currently ranks sixth all time. Seaver is tied with Ryan for the seventh-most shutouts in MLB history (61). His feat of striking out ten consecutive batters has only been matched once, by Aaron Nola in 2021. He also holds the record for consecutive 200-strikeout seasons with nine (1968–1976). In 1999, Seaver ranked 32nd on Sporting News list of the 100 Greatest Baseball Players, the only player to have spent a majority of his career with the Mets to make the list. In 2016, ESPN.com ranked Seaver 34th on its list of the greatest MLB players, while The Athletic ranked him the 41st-greatest player in 2020.
Seaver could also help himself at the plate. A decent hitter and proficient bunter, Seaver hit 12 home runs during his career, along with a relatively solid lifetime batting average, for a pitcher, of .154.
Seaver approached Hank Aaron before his first All-Star Game in 1967 and asked Aaron for his autograph. Seaver felt the need to introduce himself to Aaron, as he was certain "Hammerin' Hank" would not know who he was. Aaron replied to Seaver, "Kid, I know who you are, and before your career is over, I guarantee you everyone in this stadium will, too."
In 2020, Bill Madden wrote Tom Seaver, A Terrific Life in honor of his friend.
Broadcasting career
Seaver's television broadcasting experience dated back to his playing career, when he was invited to serve as a World Series analyst for ABC in and for NBC in , , and . Also while an active player, Seaver called the 1981 National League Division Series between Montreal and Philadelphia and that year's National League Championship Series alongside Dick Enberg for NBC.
After retiring as a player, Seaver worked as a television color commentator for the Mets, the New York Yankees, and with Vin Scully in 1989 for NBC. Seaver replaced Joe Garagiola as NBC's lead baseball color commentator, which led to him calling the 1989 All-Star Game and National League Championship Series. He worked as an analyst for Yankees' telecasts on WPIX from 1989 to 1993 and for Mets telecasts on WPIX from 1999 to 2005, making him one of three sportscasters to be regular announcers for both teams; the others are Fran Healy and Tim McCarver.
Personal life and death
Seaver married Nancy Lynn McIntyre on June 9, 1966. They were the parents of two daughters, Sarah and Annie. They lived in Calistoga, California, where Seaver started his own 3.5-acre (1.4 ha) vineyard, Seaver Family Vineyards, on his 116-acre (47 ha) estate, in 2002. His first vintage was produced in 2005. He presented his two cabernets, "Nancy's Fancy" and "GTS," at an April 2010 wine-tasting event in SoHo, to positive reviews.
His media nickname referred to the cartoon character Tom Terrific. In 2019, NFL quarterback Tom Brady was denied the trademark "Tom Terrific", when the United States Patent and Trademark Office said it "may falsely suggest a connection with Tom Seaver".
In 2013, it was reported that Seaver suffered from memory loss, not even remembering long-term acquaintances and experiencing symptoms of "sleep disorder, nausea, and a general overall feeling of chemical imbalance". According to former teammate Bud Harrelson, Seaver was "otherwise doing well". On March 7, 2019, Seaver's family announced that he had dementia and was retiring from public life.
Seaver died in his sleep as a result of complications from Lewy body dementia and COVID-19 on August 31, 2020, during the COVID-19 pandemic in California. He was 75.
See also
300 win club
3,000 strikeout club
List of celebrities who own wineries and vineyards
List of Major League Baseball career wins leaders
List of Major League Baseball individual streaks
List of Major League Baseball no-hitters
List of Major League Baseball single-game strikeout leaders
Major League Baseball titles leaders
Explanatory footnotes
References
External links
Tom Seaver at SABR (Baseball Biography Project)
Tom Seaver at Baseball Almanac
Tom Seaver at Baseball Library
Tom Seaver at Ultimate Mets Database
1944 births
2020 deaths
Baseball players from California
Boston Red Sox players
Chicago White Sox players
Cincinnati Reds players
Cy Young Award winners
Deaths from the COVID-19 pandemic in California
Neurological disease deaths in California
Deaths from Lewy body dementia
Fresno City Rams baseball players
Jacksonville Suns players
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Major League Baseball Rookie of the Year Award winners
Military personnel from California
National Baseball Hall of Fame inductees
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National League strikeout champions
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"George Thomas Seaver (November 17, 1944 – August 31, 2020), nicknamed \"Tom Terrific\" and \"the Franchise\", was an American professional baseball pitcher who played 20 seasons in Major League Baseball (MLB). He played for the New York Mets, Cincinnati Reds, Chicago White Sox, and Boston Red Sox from to . A longtime Met, Seaver played a significant role in their victory in the 1969 World Series over the Baltimore Orioles.\n\nWith the Mets, Seaver won the National League's (NL) Rookie of the Year Award in 1967, and won three NL Cy Young Awards as the league's best pitcher. He was a 12-time All-Star and ranks as the Mets' all-time leader in wins. During his MLB career, he compiled 311 wins, 3,640 strikeouts, 61 shutouts, and a 2.86 earned run average, and he threw a no-hitter in 1978.\n\nIn 1992, Seaver was inducted into the Baseball Hall of Fame by the highest percentage of votes ever recorded at the time. Along with Mike Piazza, he is one of two players wearing a New York Mets hat on his plaque in the Hall of Fame. Seaver's No. 41 was retired by the Mets in 1988, and New York City changed the address of Citi Field to 41 Seaver Way in 2019. Seaver is also a member of the New York Mets Hall of Fame and the Cincinnati Reds Hall of Fame.\n\nEarly life\nSeaver was born in Fresno, California, to Betty Lee (née Cline) and Charles Henry Seaver. He attended Fresno High School and was a pitcher for the school's baseball team. Seaver compensated for his lack of size and strength by developing great control on the mound. Despite being an All-City basketball player, he hoped to play baseball in college. He joined the U.S. Marine Corps Reserve on June 28, 1962. He served with AIRFMFPAC 29 Palms, California, through July 1963. After six months of active duty in the reserve, Seaver enrolled at Fresno City College. He remained a part-time member of the reserve until his eight-year commitment ended in 1970.\n\nThe University of Southern California (USC) recruited Seaver to play college baseball. Unsure as to whether Seaver was worthy of a scholarship, USC sent him to pitch in Alaska for the Alaska Goldpanners of Fairbanks in the summer of 1964. After a stellar season, in which he pitched and won a game in the national tournament with a grand slam, USC head coach Rod Dedeaux awarded him a scholarship. As a sophomore in 1965, Seaver posted a 10–2 record for the Trojans, and he was selected in the tenth round of the 1965 Major League Baseball draft by the Los Angeles Dodgers. When Seaver asked for $70,000, however, the Dodgers passed.\n\nIn 1966, Seaver signed a professional contract with the Atlanta Braves, who had selected him in the first round of the secondary January draft, 20th overall. However, the contract was voided by Baseball Commissioner William Eckert because USC had played two exhibition games that year, although Seaver hadn't participated. He then intended to finish the college season, but because he had signed a pro contract, the NCAA ruled him ineligible. After Seaver's father complained to Eckert about the unfairness of the situation, and threatened a lawsuit, Eckert ruled that other teams could match the Braves' offer. The Mets were subsequently awarded his signing rights in a lottery drawing among the three teams (the Philadelphia Phillies and Cleveland Indians being the two others) that were willing to match the Braves' terms.\n\nProfessional playing career\n\nMinor leagues (1966)\nIn 1966, Seaver was 12–12 with a 3.13 earned run average pitching in Class AAA with the Jacksonville Suns, the Mets' affiliate in the International League.\n\nNew York Mets (1967–1977)\nSeaver made the Mets' roster in 1967, was named to the 1967 All-Star Game, and got the save by pitching a scoreless 15th inning. In his rookie season, Seaver was 16–13 for the last-place Mets, with 18 complete games, 170 strikeouts, and a 2.76 earned run average. Seaver was named the 1967 National League Rookie of the Year.\n\nSeaver started for the Mets on Opening Day in 1968. He won 16 games again during that season, and recorded over 200 strikeouts for the first of nine consecutive seasons, but the Mets moved up only one spot in the standings, to ninth. In 1969, Seaver won a league-high 25 games, including nine consecutive complete-game victories. He won his first National League Cy Young Award. He also finished runner-up to Willie McCovey for the League's Most Valuable Player Award.\n\nIn front of a crowd of over 59,000 at New York's Shea Stadium on July 9, Seaver threw perfect innings against the division-leading Chicago Cubs. Rookie backup outfielder Jim Qualls broke up Seaver's bid for a perfect game when he lined a clean single to left field.\n\nIn the inaugural National League Championship Series, Seaver outlasted Atlanta's Phil Niekro in the first game for a 9–5 victory. Seaver was also the starter for Game One of the World Series, but lost a 4–1 decision to the Baltimore Orioles' Mike Cuellar. Seaver then pitched a 10-inning complete game for a 2–1 win in Game Four. The \"Miracle Mets\" won the series. At year's end, Seaver was presented with the Hickok Belt as the top professional athlete of the year and Sports Illustrated magazine's \"Sportsman of the Year\" award.\n\nOn April 22, 1970, Seaver set a major league record by striking out the final ten batters of the game in a 2–1 victory over the San Diego Padres at Shea Stadium. Al Ferrara, who had homered in the second inning for the Padres' run, accounted for both the first and the final strikeout of the streak. In addition to his ten consecutive strikeouts, Seaver tied Steve Carlton's major league record at the time, with 19 strikeouts in a nine-inning game. The Mets also won the game in which Carlton struck out 19, with Carlton victimized by Ron Swoboda's pair of 2-run homers in a 4–3 Mets' victory in St. Louis on September 15, 1969. (The record was later eclipsed by 20-strikeout games by Kerry Wood, Randy Johnson, Max Scherzer, and twice by Roger Clemens.) By mid-August, Seaver's record stood at 17–6 and he seemed well on his way to a second consecutive 20-victory season. But he only won one of his last ten starts, including four on short rest, to finish 18–12. Nonetheless, Seaver led the National League in both earned run average (2.82) and strikeouts (283).\n\nIn 1971, Seaver led the league in earned run average (1.76) and strikeouts (289 in 286 innings) while going 20–10. However, he finished second in the Cy Young balloting to Ferguson Jenkins of the Chicago Cubs, due to Jenkins' league-leading 24 wins, 325 innings pitched, and exceptional control numbers.\n\nSeaver had four more 20-win seasons (20 in 1971, 21 in 1972, 22 in 1975, and 21 in 1977). He won two more Cy Young Awards (1973 and 1975, both with the Mets). Between 1970 and 1976, Seaver led the National League in strikeouts five times, while also finishing second in 1972 and third in 1974. Seaver also won three earned run average titles as a Met. Two famous quotes about Seaver are attributed to Reggie Jackson: \"Blind men come to the park just to hear him pitch.\" The second was in the 1973 World series, with the Mets up 3 games to 2, and poised to win their second championship. Seaver started the game, but did not have his \"arm\" that day, and lost the game. Jackson is reported to have said \"Seaver pitched with his heart that day.\" Seaver was known for his \"drop and drive\" overhand delivery, powered by his legs and trunk with his knee sinking to the ground.\n\nMidnight Massacre\nBy , free agency had begun and contract negotiations between Mets' ownership and Seaver were not going well. Seaver wanted to renegotiate his contract to bring his salary in line with what other top pitchers were making, but chairman of the board M. Donald Grant, who by that time had been given carte blanche by Mets management to do what he wished, refused to budge. Longtime New York Daily News columnist Dick Young regularly wrote negative columns about Seaver's \"greedy\" demands. Seaver attempted to resolve the impasse by going to team owner Lorinda de Roulet, who along with general manager Joe McDonald, had negotiated in principle a three-year contract extension by mid-June. Before the contract could be signed, Young wrote an unattributed story in the Daily News saying that Seaver was being goaded by his wife to ask for more money because she was envious of Nolan Ryan making more money with the California Angels. Upon being informed of the story, Seaver informed de Roulet that he immediately wanted out, and asked McDonald to immediately trade him, feeling that he could not co-exist with Grant.\n\nIn one of two trades that New York's sports reporters dubbed \"the Midnight Massacre\" (the other involved struggling outfielder Dave Kingman), Seaver was traded to the Cincinnati Reds at the trading deadline, June 15, 1977, for pitcher Pat Zachry, minor league outfielder Steve Henderson, infielder Doug Flynn, and minor league outfielder Dan Norman.\n\nCincinnati Reds (1977–1982)\nSeaver went 14–3 with the Reds and won 21 games in 1977, including an emotional 5–1 win over the Mets in his return to Shea Stadium. Seaver struck out 11 in the return, and also hit a double. He also received a lengthy ovation at the All-Star Game, held in New York's Yankee Stadium. His departure from New York sparked sustained negative fan reaction, as the Mets became the league's worst team, finishing in last place the next three seasons. Combined with the Yankees' resurgence in the market, attendance dipped in 1978, and plunged in 1979 to 9,740 per game. M. Donald Grant was fired after the 1978 season, and Joe McDonald was fired after the 1979 season following a sale of the team to publishing magnate Nelson Doubleday, Jr. In a sardonic nod to the general manager, Shea Stadium acquired the nickname \"Grant's Tomb\".\n\nAfter having thrown five one-hitters for the Mets, including two games in which no-hit bids were broken up in the ninth inning, Seaver recorded a 4–0 no-hitter for the Reds in 1978 against the St. Louis Cardinals on June 16 at Riverfront Stadium. It was the only no-hitter of his professional career.\n\nHe led the Cincinnati pitching staff in 1979, when the Reds won the Western Division, and again in the strike-shortened 1981 season, when the Reds had the best record in the major leagues. In the latter season, Seaver, with his sterling 14–2 performance, was a close runner-up to Fernando Valenzuela for the 1981 Cy Young Award. (Seaver had finished third and fourth in two other previous years.) In 1981, during one of his two losses, Seaver recorded his 3,000th strikeout against Keith Hernandez of the St. Louis Cardinals. Then in 1982 he suffered through an injury-ridden campaign, finishing the season 5–13.\n\nIn six seasons with the Reds, Seaver was 75–46 with a 3.18 earned run average and 42 complete games in 158 starts.\n\nReturn to Mets (1983)\nOn December 16, 1982, Seaver was traded back to the Mets, for Charlie Puleo, Lloyd McClendon, and Jason Felice. On April 5, 1983, he tied Walter Johnson's major league record of 14 Opening Day starts, shutting out the Philadelphia Phillies for six innings in a 2–0 Mets win, but had a 9–14 record that season. The Mets exercised an option on Seaver's contract worth $750,000 for the 1984 season. Overall, in 12 seasons with the Mets, Seaver was 198–124 with a 2.57 earned run average in 3,045 innings with 171 complete games, winning three Cy Young awards, the 1969 World Series and the 1967 NL Rookie of the Year Award.\n\nChicago White Sox (1984–1986)\nOn January 20, 1984, the Chicago White Sox claimed Seaver from the Mets in a free-agent compensation draft. The Mets, especially general manager Frank Cashen incorrectly assumed that no one would pursue a high-salaried, 39-year-old starting pitcher and left him off the protected list.\n\nSeaver pitched two and a half seasons in Chicago and recorded his last shutout on July 19, 1985, against the visiting Indians. In an anomaly, Seaver won two games on May 9, 1984; he pitched the 25th and final inning of a game suspended the day before, picking up the win in relief against the Milwaukee Brewers, before starting and winning the day's regularly scheduled game, also facing the Brewers.\n\nOn August 4, 1985, Seaver recorded his 300th victory at Yankee Stadium over the Yankees, throwing a complete game 4–1 victory.\n\nIn three seasons with the White Sox, Seaver was 33–28 with a 3.67 earned run average and 17 complete games in 81 appearances.\n\nBoston Red Sox (1986)\n\nSeaver started on Opening Day for the 16th and final time of his career in 1986. The White Sox traded Seaver to the Boston Red Sox for Steve Lyons in mid-season. Seaver's 311th and final win came on August 18, 1986, against the Minnesota Twins.\n\nA knee injury prevented Seaver from appearing against the Mets in the World Series with the Red Sox, but he received among the loudest ovations during player introductions prior to Game 1. Roger Clemens attributes the time he shared with Seaver as teammates in 1986 as instrumental in helping him make the transition from thrower to pitcher. The Red Sox did not offer Seaver a contract to his liking for the 1987 season. His 1986 salary was $1 million; the Red Sox offered $500,000, which Seaver declined. When no new contract agreement was reached, Seaver was granted free agency on November 12, 1986.\n\nSeaver was 5–7 with a 3.80 earned run average in 16 starts with Boston in 1986.\n\nIn 1987, the Mets starting rotation was decimated by injury and they sought help from Seaver. Though no contract was signed, Seaver joined the club on June 6, and was hit hard in an exhibition game against the Triple-A Tidewater Tides on June 11. After similarly poor outings on June 16 and 20, he announced his retirement, saying that, \"there were no more pitches in this 42-year-old arm that were competitive. I've used them all up.\"\n\nCareer statistics\n\nSource:\n\nAwards and honors\n\nThe Mets retired Seaver's uniform number 41 in 1988 in a Tom Seaver Day ceremony, making him the franchise's first player to be so honored.\n\nSeaver was elected to the Baseball Hall of Fame on January 7, 1992, with the then-highest percentage of votes with 98.84%. He was named on 425 out of 430 ballots. Three of the five ballots that had omitted Seaver were blank, cast by writers protesting the Hall's decision to make Pete Rose ineligible for consideration. One ballot was sent by a writer who was recovering from open-heart surgery and failed to notice Seaver's name. The fifth \"no\" vote was cast by a writer who said he never voted for any player in their first year of eligibility. Seaver is one of two players enshrined in the Hall of Fame with a Mets cap on his plaque, along with Mike Piazza. He was also inducted into the New York Mets Hall of Fame, the Marine Corps Sports Hall of Fame, and the Cincinnati Reds Hall of Fame.\n\nOn September 28, 2006, Seaver was chosen as the \"Hometown Hero\" for the Mets franchise by ESPN. Seaver made a return to Shea Stadium during the \"Shea Goodbye\" closing ceremony on September 28, 2008, where he threw out the final pitch in the history of the stadium to Piazza. Along with Piazza he opened the Mets' new home, Citi Field with the ceremonial first pitch on April 13, 2009.\n\nThe 2013 Major League Baseball All-Star Game was dedicated to Seaver. He concluded the introduction of the starting lineup ceremonies by throwing out the ceremonial first pitch. Mets player David Wright participated. In 2019, the New York City renamed the street outside Citi Field from 126th Street to Seaver Way and changed the ballpark's address to 41 Seaver Way, a salute of the number he wore throughout his career.\n\nIn 2017, Seaver was awarded the Bob Feller Act of Valor Award as the Hall of Fame recipient.\n\nLegacy\nOnly Seaver and Walter Johnson have 300 wins, 3,000 strikeouts, and an earned run average under 3.00. Seaver's 16 Opening-Day starts are an MLB record. At the time of his retirement, he was third on MLB's all-time strikeout list (3,640), trailing only his former teammate Nolan Ryan and Steve Carlton; he currently ranks sixth all time. Seaver is tied with Ryan for the seventh-most shutouts in MLB history (61). His feat of striking out ten consecutive batters has only been matched once, by Aaron Nola in 2021. He also holds the record for consecutive 200-strikeout seasons with nine (1968–1976). In 1999, Seaver ranked 32nd on Sporting News list of the 100 Greatest Baseball Players, the only player to have spent a majority of his career with the Mets to make the list. In 2016, ESPN.com ranked Seaver 34th on its list of the greatest MLB players, while The Athletic ranked him the 41st-greatest player in 2020.\n\nSeaver could also help himself at the plate. A decent hitter and proficient bunter, Seaver hit 12 home runs during his career, along with a relatively solid lifetime batting average, for a pitcher, of .154.\n\nSeaver approached Hank Aaron before his first All-Star Game in 1967 and asked Aaron for his autograph. Seaver felt the need to introduce himself to Aaron, as he was certain \"Hammerin' Hank\" would not know who he was. Aaron replied to Seaver, \"Kid, I know who you are, and before your career is over, I guarantee you everyone in this stadium will, too.\"\n\nIn 2020, Bill Madden wrote Tom Seaver, A Terrific Life in honor of his friend.\n\nBroadcasting career\n\nSeaver's television broadcasting experience dated back to his playing career, when he was invited to serve as a World Series analyst for ABC in and for NBC in , , and . Also while an active player, Seaver called the 1981 National League Division Series between Montreal and Philadelphia and that year's National League Championship Series alongside Dick Enberg for NBC.\n\nAfter retiring as a player, Seaver worked as a television color commentator for the Mets, the New York Yankees, and with Vin Scully in 1989 for NBC. Seaver replaced Joe Garagiola as NBC's lead baseball color commentator, which led to him calling the 1989 All-Star Game and National League Championship Series. He worked as an analyst for Yankees' telecasts on WPIX from 1989 to 1993 and for Mets telecasts on WPIX from 1999 to 2005, making him one of three sportscasters to be regular announcers for both teams; the others are Fran Healy and Tim McCarver.\n\nPersonal life and death\nSeaver married Nancy Lynn McIntyre on June 9, 1966. They were the parents of two daughters, Sarah and Annie. They lived in Calistoga, California, where Seaver started his own 3.5-acre (1.4 ha) vineyard, Seaver Family Vineyards, on his 116-acre (47 ha) estate, in 2002. His first vintage was produced in 2005. He presented his two cabernets, \"Nancy's Fancy\" and \"GTS,\" at an April 2010 wine-tasting event in SoHo, to positive reviews.\n\nHis media nickname referred to the cartoon character Tom Terrific. In 2019, NFL quarterback Tom Brady was denied the trademark \"Tom Terrific\", when the United States Patent and Trademark Office said it \"may falsely suggest a connection with Tom Seaver\".\n\nIn 2013, it was reported that Seaver suffered from memory loss, not even remembering long-term acquaintances and experiencing symptoms of \"sleep disorder, nausea, and a general overall feeling of chemical imbalance\". According to former teammate Bud Harrelson, Seaver was \"otherwise doing well\". On March 7, 2019, Seaver's family announced that he had dementia and was retiring from public life.\n\nSeaver died in his sleep as a result of complications from Lewy body dementia and COVID-19 on August 31, 2020, during the COVID-19 pandemic in California. He was 75.\n\nSee also\n\n 300 win club\n 3,000 strikeout club\n List of celebrities who own wineries and vineyards\n List of Major League Baseball career wins leaders\n List of Major League Baseball individual streaks\n List of Major League Baseball no-hitters\n List of Major League Baseball single-game strikeout leaders\n Major League Baseball titles leaders\n\nExplanatory footnotes\n\nReferences\n\nExternal links\n\n Tom Seaver at SABR (Baseball Biography Project)\n Tom Seaver at Baseball Almanac\n Tom Seaver at Baseball Library\n Tom Seaver at Ultimate Mets Database\n \n\n1944 births\n2020 deaths\nBaseball players from California\nBoston Red Sox players\nChicago White Sox players\nCincinnati Reds players\nCy Young Award winners\nDeaths from the COVID-19 pandemic in California\nNeurological disease deaths in California\nDeaths from Lewy body dementia\nFresno City Rams baseball players\nJacksonville Suns players\nMajor League Baseball broadcasters\nMajor League Baseball pitchers\nMajor League Baseball players with retired numbers\nMajor League Baseball Rookie of the Year Award winners\nMilitary personnel from California\nNational Baseball Hall of Fame inductees\nNational League All-Stars\nNational League ERA champions\nNational League strikeout champions\nNational League wins champions\nNew York Mets announcers\nNew York Mets players\nNew York Yankees announcers\nPeople from Calistoga, California\nSportspeople from Fresno, California\nUnited States Marine Corps reservists\nUSC Trojans baseball players",
"Benjamin Seaver (April 12, 1795 – February 14, 1856) was an American politician, serving as the thirteenth mayor of Boston, Massachusetts from January 5, 1852 to January 2, 1854.\n\nEarly life\n\nSeaver was born in Roxbury, Massachusetts In 1812 Seaver became an apprentice at the auction and commission store of Whitwell & Bond. In 1816 Seaver became a partner in the firm which was renamed Whitwell, Bond & Co. In 1818, Seaver purchased 5 shares of the Suffolk Bank, a clearinghouse bank on State Street in Boston.\n\nSeaver married Sarah Johnson.\n\nPolitical career\n\nCity of Boston Common Council\n\nSeaver was first elected to represent Boston's Ward 5 as a member of the Common Council in 1845. He was reelected to the Common Council from Ward 5 in 1846 and 1847. In 1848 Seaver moved to Ward 4 and was subsequently elected as a councilor from the new ward in 1848 and 1849.\n\nIn July 1847 Seaver was elected as President of the Common Council and he held that position for the two and a half years that he remained on the City of Boston Common Council.\n\nMassachusetts legislature\nFrom 1846 to 1848 Seaver served as a member of the Massachusetts House of Representatives and in 1850 and 1851 he was elected to the Massachusetts Senate.\n\nSee also\n Timeline of Boston, 1840s-1850s\n\nReferences \n\nMayors of Boston\nMembers of the Massachusetts House of Representatives\nMassachusetts Whigs\n19th-century American politicians\nMassachusetts city council members\nMassachusetts state senators\n1856 deaths\n1795 births"
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[
"Tom Seaver",
"300 wins",
"What happened in April 22?",
"I don't know.",
"Who was Tom Seaver?",
"Seaver pitched two and a half seasons in Chicago and recorded his last shutout on July 19, 1985 against the visiting Indians."
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C_34af306b3c494fa5b6ae0b20ca015a0f_0
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How many consecutive strikeouts did he have?
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How many consecutive strikeouts did Tom Seaver have, after Chicago and last shutout against visiting Indians?
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Tom Seaver
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Seaver and the Mets were stunned on January 20, 1984 when he was claimed in a free-agent compensation draft by the Chicago White Sox. The team (especially GM Frank Cashen) had incorrectly assumed that no one would pursue a high-salaried, 39-year-old starting pitcher, and left him off the protected list. Faced with either reporting to the White Sox or retiring, Seaver chose the former. The result for the Mets was an opening in the starting rotation that allowed Dwight Gooden to be part of the team. Seaver pitched two and a half seasons in Chicago and recorded his last shutout on July 19, 1985 against the visiting Indians. In an anomaly, Seaver won two games on May 9, 1984; he pitched the 25th and final inning of a game suspended the day before, picking up the win in relief against the Milwaukee Brewers, before starting and winning the day's regularly scheduled game, also facing the Brewers. After Seaver's 298th win, a reporter had pointed out to White Sox catcher Carlton Fisk that following his upcoming start in Boston, Seaver's next scheduled start would be in New York, and that the possibility existed that he might achieve the mark there. Fisk emphatically stated that Seaver would win in Boston, and then would win his 300th. On August 4, 1985, Seaver recorded his 300th victory at Yankee Stadium against the Yankees, throwing a complete game 4-1 victory. Don Baylor was the tying run at the plate; he hit a fly ball to left field for the final out of the game. Coincidentally, it was Phil Rizzuto Day - Seaver would later become Rizzuto's broadcast partner for Yankee games. Lindsey Nelson, a Mets radio and TV announcer during Seaver's Mets days, called the final out for Yankees TV flagship WPIX. CANNOTANSWER
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Seaver won two games on May 9, 1984;
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George Thomas Seaver (November 17, 1944 – August 31, 2020), nicknamed "Tom Terrific" and "the Franchise", was an American professional baseball pitcher who played 20 seasons in Major League Baseball (MLB). He played for the New York Mets, Cincinnati Reds, Chicago White Sox, and Boston Red Sox from to . A longtime Met, Seaver played a significant role in their victory in the 1969 World Series over the Baltimore Orioles.
With the Mets, Seaver won the National League's (NL) Rookie of the Year Award in 1967, and won three NL Cy Young Awards as the league's best pitcher. He was a 12-time All-Star and ranks as the Mets' all-time leader in wins. During his MLB career, he compiled 311 wins, 3,640 strikeouts, 61 shutouts, and a 2.86 earned run average, and he threw a no-hitter in 1978.
In 1992, Seaver was inducted into the Baseball Hall of Fame by the highest percentage of votes ever recorded at the time. Along with Mike Piazza, he is one of two players wearing a New York Mets hat on his plaque in the Hall of Fame. Seaver's No. 41 was retired by the Mets in 1988, and New York City changed the address of Citi Field to 41 Seaver Way in 2019. Seaver is also a member of the New York Mets Hall of Fame and the Cincinnati Reds Hall of Fame.
Early life
Seaver was born in Fresno, California, to Betty Lee (née Cline) and Charles Henry Seaver. He attended Fresno High School and was a pitcher for the school's baseball team. Seaver compensated for his lack of size and strength by developing great control on the mound. Despite being an All-City basketball player, he hoped to play baseball in college. He joined the U.S. Marine Corps Reserve on June 28, 1962. He served with AIRFMFPAC 29 Palms, California, through July 1963. After six months of active duty in the reserve, Seaver enrolled at Fresno City College. He remained a part-time member of the reserve until his eight-year commitment ended in 1970.
The University of Southern California (USC) recruited Seaver to play college baseball. Unsure as to whether Seaver was worthy of a scholarship, USC sent him to pitch in Alaska for the Alaska Goldpanners of Fairbanks in the summer of 1964. After a stellar season, in which he pitched and won a game in the national tournament with a grand slam, USC head coach Rod Dedeaux awarded him a scholarship. As a sophomore in 1965, Seaver posted a 10–2 record for the Trojans, and he was selected in the tenth round of the 1965 Major League Baseball draft by the Los Angeles Dodgers. When Seaver asked for $70,000, however, the Dodgers passed.
In 1966, Seaver signed a professional contract with the Atlanta Braves, who had selected him in the first round of the secondary January draft, 20th overall. However, the contract was voided by Baseball Commissioner William Eckert because USC had played two exhibition games that year, although Seaver hadn't participated. He then intended to finish the college season, but because he had signed a pro contract, the NCAA ruled him ineligible. After Seaver's father complained to Eckert about the unfairness of the situation, and threatened a lawsuit, Eckert ruled that other teams could match the Braves' offer. The Mets were subsequently awarded his signing rights in a lottery drawing among the three teams (the Philadelphia Phillies and Cleveland Indians being the two others) that were willing to match the Braves' terms.
Professional playing career
Minor leagues (1966)
In 1966, Seaver was 12–12 with a 3.13 earned run average pitching in Class AAA with the Jacksonville Suns, the Mets' affiliate in the International League.
New York Mets (1967–1977)
Seaver made the Mets' roster in 1967, was named to the 1967 All-Star Game, and got the save by pitching a scoreless 15th inning. In his rookie season, Seaver was 16–13 for the last-place Mets, with 18 complete games, 170 strikeouts, and a 2.76 earned run average. Seaver was named the 1967 National League Rookie of the Year.
Seaver started for the Mets on Opening Day in 1968. He won 16 games again during that season, and recorded over 200 strikeouts for the first of nine consecutive seasons, but the Mets moved up only one spot in the standings, to ninth. In 1969, Seaver won a league-high 25 games, including nine consecutive complete-game victories. He won his first National League Cy Young Award. He also finished runner-up to Willie McCovey for the League's Most Valuable Player Award.
In front of a crowd of over 59,000 at New York's Shea Stadium on July 9, Seaver threw perfect innings against the division-leading Chicago Cubs. Rookie backup outfielder Jim Qualls broke up Seaver's bid for a perfect game when he lined a clean single to left field.
In the inaugural National League Championship Series, Seaver outlasted Atlanta's Phil Niekro in the first game for a 9–5 victory. Seaver was also the starter for Game One of the World Series, but lost a 4–1 decision to the Baltimore Orioles' Mike Cuellar. Seaver then pitched a 10-inning complete game for a 2–1 win in Game Four. The "Miracle Mets" won the series. At year's end, Seaver was presented with the Hickok Belt as the top professional athlete of the year and Sports Illustrated magazine's "Sportsman of the Year" award.
On April 22, 1970, Seaver set a major league record by striking out the final ten batters of the game in a 2–1 victory over the San Diego Padres at Shea Stadium. Al Ferrara, who had homered in the second inning for the Padres' run, accounted for both the first and the final strikeout of the streak. In addition to his ten consecutive strikeouts, Seaver tied Steve Carlton's major league record at the time, with 19 strikeouts in a nine-inning game. The Mets also won the game in which Carlton struck out 19, with Carlton victimized by Ron Swoboda's pair of 2-run homers in a 4–3 Mets' victory in St. Louis on September 15, 1969. (The record was later eclipsed by 20-strikeout games by Kerry Wood, Randy Johnson, Max Scherzer, and twice by Roger Clemens.) By mid-August, Seaver's record stood at 17–6 and he seemed well on his way to a second consecutive 20-victory season. But he only won one of his last ten starts, including four on short rest, to finish 18–12. Nonetheless, Seaver led the National League in both earned run average (2.82) and strikeouts (283).
In 1971, Seaver led the league in earned run average (1.76) and strikeouts (289 in 286 innings) while going 20–10. However, he finished second in the Cy Young balloting to Ferguson Jenkins of the Chicago Cubs, due to Jenkins' league-leading 24 wins, 325 innings pitched, and exceptional control numbers.
Seaver had four more 20-win seasons (20 in 1971, 21 in 1972, 22 in 1975, and 21 in 1977). He won two more Cy Young Awards (1973 and 1975, both with the Mets). Between 1970 and 1976, Seaver led the National League in strikeouts five times, while also finishing second in 1972 and third in 1974. Seaver also won three earned run average titles as a Met. Two famous quotes about Seaver are attributed to Reggie Jackson: "Blind men come to the park just to hear him pitch." The second was in the 1973 World series, with the Mets up 3 games to 2, and poised to win their second championship. Seaver started the game, but did not have his "arm" that day, and lost the game. Jackson is reported to have said "Seaver pitched with his heart that day." Seaver was known for his "drop and drive" overhand delivery, powered by his legs and trunk with his knee sinking to the ground.
Midnight Massacre
By , free agency had begun and contract negotiations between Mets' ownership and Seaver were not going well. Seaver wanted to renegotiate his contract to bring his salary in line with what other top pitchers were making, but chairman of the board M. Donald Grant, who by that time had been given carte blanche by Mets management to do what he wished, refused to budge. Longtime New York Daily News columnist Dick Young regularly wrote negative columns about Seaver's "greedy" demands. Seaver attempted to resolve the impasse by going to team owner Lorinda de Roulet, who along with general manager Joe McDonald, had negotiated in principle a three-year contract extension by mid-June. Before the contract could be signed, Young wrote an unattributed story in the Daily News saying that Seaver was being goaded by his wife to ask for more money because she was envious of Nolan Ryan making more money with the California Angels. Upon being informed of the story, Seaver informed de Roulet that he immediately wanted out, and asked McDonald to immediately trade him, feeling that he could not co-exist with Grant.
In one of two trades that New York's sports reporters dubbed "the Midnight Massacre" (the other involved struggling outfielder Dave Kingman), Seaver was traded to the Cincinnati Reds at the trading deadline, June 15, 1977, for pitcher Pat Zachry, minor league outfielder Steve Henderson, infielder Doug Flynn, and minor league outfielder Dan Norman.
Cincinnati Reds (1977–1982)
Seaver went 14–3 with the Reds and won 21 games in 1977, including an emotional 5–1 win over the Mets in his return to Shea Stadium. Seaver struck out 11 in the return, and also hit a double. He also received a lengthy ovation at the All-Star Game, held in New York's Yankee Stadium. His departure from New York sparked sustained negative fan reaction, as the Mets became the league's worst team, finishing in last place the next three seasons. Combined with the Yankees' resurgence in the market, attendance dipped in 1978, and plunged in 1979 to 9,740 per game. M. Donald Grant was fired after the 1978 season, and Joe McDonald was fired after the 1979 season following a sale of the team to publishing magnate Nelson Doubleday, Jr. In a sardonic nod to the general manager, Shea Stadium acquired the nickname "Grant's Tomb".
After having thrown five one-hitters for the Mets, including two games in which no-hit bids were broken up in the ninth inning, Seaver recorded a 4–0 no-hitter for the Reds in 1978 against the St. Louis Cardinals on June 16 at Riverfront Stadium. It was the only no-hitter of his professional career.
He led the Cincinnati pitching staff in 1979, when the Reds won the Western Division, and again in the strike-shortened 1981 season, when the Reds had the best record in the major leagues. In the latter season, Seaver, with his sterling 14–2 performance, was a close runner-up to Fernando Valenzuela for the 1981 Cy Young Award. (Seaver had finished third and fourth in two other previous years.) In 1981, during one of his two losses, Seaver recorded his 3,000th strikeout against Keith Hernandez of the St. Louis Cardinals. Then in 1982 he suffered through an injury-ridden campaign, finishing the season 5–13.
In six seasons with the Reds, Seaver was 75–46 with a 3.18 earned run average and 42 complete games in 158 starts.
Return to Mets (1983)
On December 16, 1982, Seaver was traded back to the Mets, for Charlie Puleo, Lloyd McClendon, and Jason Felice. On April 5, 1983, he tied Walter Johnson's major league record of 14 Opening Day starts, shutting out the Philadelphia Phillies for six innings in a 2–0 Mets win, but had a 9–14 record that season. The Mets exercised an option on Seaver's contract worth $750,000 for the 1984 season. Overall, in 12 seasons with the Mets, Seaver was 198–124 with a 2.57 earned run average in 3,045 innings with 171 complete games, winning three Cy Young awards, the 1969 World Series and the 1967 NL Rookie of the Year Award.
Chicago White Sox (1984–1986)
On January 20, 1984, the Chicago White Sox claimed Seaver from the Mets in a free-agent compensation draft. The Mets, especially general manager Frank Cashen incorrectly assumed that no one would pursue a high-salaried, 39-year-old starting pitcher and left him off the protected list.
Seaver pitched two and a half seasons in Chicago and recorded his last shutout on July 19, 1985, against the visiting Indians. In an anomaly, Seaver won two games on May 9, 1984; he pitched the 25th and final inning of a game suspended the day before, picking up the win in relief against the Milwaukee Brewers, before starting and winning the day's regularly scheduled game, also facing the Brewers.
On August 4, 1985, Seaver recorded his 300th victory at Yankee Stadium over the Yankees, throwing a complete game 4–1 victory.
In three seasons with the White Sox, Seaver was 33–28 with a 3.67 earned run average and 17 complete games in 81 appearances.
Boston Red Sox (1986)
Seaver started on Opening Day for the 16th and final time of his career in 1986. The White Sox traded Seaver to the Boston Red Sox for Steve Lyons in mid-season. Seaver's 311th and final win came on August 18, 1986, against the Minnesota Twins.
A knee injury prevented Seaver from appearing against the Mets in the World Series with the Red Sox, but he received among the loudest ovations during player introductions prior to Game 1. Roger Clemens attributes the time he shared with Seaver as teammates in 1986 as instrumental in helping him make the transition from thrower to pitcher. The Red Sox did not offer Seaver a contract to his liking for the 1987 season. His 1986 salary was $1 million; the Red Sox offered $500,000, which Seaver declined. When no new contract agreement was reached, Seaver was granted free agency on November 12, 1986.
Seaver was 5–7 with a 3.80 earned run average in 16 starts with Boston in 1986.
In 1987, the Mets starting rotation was decimated by injury and they sought help from Seaver. Though no contract was signed, Seaver joined the club on June 6, and was hit hard in an exhibition game against the Triple-A Tidewater Tides on June 11. After similarly poor outings on June 16 and 20, he announced his retirement, saying that, "there were no more pitches in this 42-year-old arm that were competitive. I've used them all up."
Career statistics
Source:
Awards and honors
The Mets retired Seaver's uniform number 41 in 1988 in a Tom Seaver Day ceremony, making him the franchise's first player to be so honored.
Seaver was elected to the Baseball Hall of Fame on January 7, 1992, with the then-highest percentage of votes with 98.84%. He was named on 425 out of 430 ballots. Three of the five ballots that had omitted Seaver were blank, cast by writers protesting the Hall's decision to make Pete Rose ineligible for consideration. One ballot was sent by a writer who was recovering from open-heart surgery and failed to notice Seaver's name. The fifth "no" vote was cast by a writer who said he never voted for any player in their first year of eligibility. Seaver is one of two players enshrined in the Hall of Fame with a Mets cap on his plaque, along with Mike Piazza. He was also inducted into the New York Mets Hall of Fame, the Marine Corps Sports Hall of Fame, and the Cincinnati Reds Hall of Fame.
On September 28, 2006, Seaver was chosen as the "Hometown Hero" for the Mets franchise by ESPN. Seaver made a return to Shea Stadium during the "Shea Goodbye" closing ceremony on September 28, 2008, where he threw out the final pitch in the history of the stadium to Piazza. Along with Piazza he opened the Mets' new home, Citi Field with the ceremonial first pitch on April 13, 2009.
The 2013 Major League Baseball All-Star Game was dedicated to Seaver. He concluded the introduction of the starting lineup ceremonies by throwing out the ceremonial first pitch. Mets player David Wright participated. In 2019, the New York City renamed the street outside Citi Field from 126th Street to Seaver Way and changed the ballpark's address to 41 Seaver Way, a salute of the number he wore throughout his career.
In 2017, Seaver was awarded the Bob Feller Act of Valor Award as the Hall of Fame recipient.
Legacy
Only Seaver and Walter Johnson have 300 wins, 3,000 strikeouts, and an earned run average under 3.00. Seaver's 16 Opening-Day starts are an MLB record. At the time of his retirement, he was third on MLB's all-time strikeout list (3,640), trailing only his former teammate Nolan Ryan and Steve Carlton; he currently ranks sixth all time. Seaver is tied with Ryan for the seventh-most shutouts in MLB history (61). His feat of striking out ten consecutive batters has only been matched once, by Aaron Nola in 2021. He also holds the record for consecutive 200-strikeout seasons with nine (1968–1976). In 1999, Seaver ranked 32nd on Sporting News list of the 100 Greatest Baseball Players, the only player to have spent a majority of his career with the Mets to make the list. In 2016, ESPN.com ranked Seaver 34th on its list of the greatest MLB players, while The Athletic ranked him the 41st-greatest player in 2020.
Seaver could also help himself at the plate. A decent hitter and proficient bunter, Seaver hit 12 home runs during his career, along with a relatively solid lifetime batting average, for a pitcher, of .154.
Seaver approached Hank Aaron before his first All-Star Game in 1967 and asked Aaron for his autograph. Seaver felt the need to introduce himself to Aaron, as he was certain "Hammerin' Hank" would not know who he was. Aaron replied to Seaver, "Kid, I know who you are, and before your career is over, I guarantee you everyone in this stadium will, too."
In 2020, Bill Madden wrote Tom Seaver, A Terrific Life in honor of his friend.
Broadcasting career
Seaver's television broadcasting experience dated back to his playing career, when he was invited to serve as a World Series analyst for ABC in and for NBC in , , and . Also while an active player, Seaver called the 1981 National League Division Series between Montreal and Philadelphia and that year's National League Championship Series alongside Dick Enberg for NBC.
After retiring as a player, Seaver worked as a television color commentator for the Mets, the New York Yankees, and with Vin Scully in 1989 for NBC. Seaver replaced Joe Garagiola as NBC's lead baseball color commentator, which led to him calling the 1989 All-Star Game and National League Championship Series. He worked as an analyst for Yankees' telecasts on WPIX from 1989 to 1993 and for Mets telecasts on WPIX from 1999 to 2005, making him one of three sportscasters to be regular announcers for both teams; the others are Fran Healy and Tim McCarver.
Personal life and death
Seaver married Nancy Lynn McIntyre on June 9, 1966. They were the parents of two daughters, Sarah and Annie. They lived in Calistoga, California, where Seaver started his own 3.5-acre (1.4 ha) vineyard, Seaver Family Vineyards, on his 116-acre (47 ha) estate, in 2002. His first vintage was produced in 2005. He presented his two cabernets, "Nancy's Fancy" and "GTS," at an April 2010 wine-tasting event in SoHo, to positive reviews.
His media nickname referred to the cartoon character Tom Terrific. In 2019, NFL quarterback Tom Brady was denied the trademark "Tom Terrific", when the United States Patent and Trademark Office said it "may falsely suggest a connection with Tom Seaver".
In 2013, it was reported that Seaver suffered from memory loss, not even remembering long-term acquaintances and experiencing symptoms of "sleep disorder, nausea, and a general overall feeling of chemical imbalance". According to former teammate Bud Harrelson, Seaver was "otherwise doing well". On March 7, 2019, Seaver's family announced that he had dementia and was retiring from public life.
Seaver died in his sleep as a result of complications from Lewy body dementia and COVID-19 on August 31, 2020, during the COVID-19 pandemic in California. He was 75.
See also
300 win club
3,000 strikeout club
List of celebrities who own wineries and vineyards
List of Major League Baseball career wins leaders
List of Major League Baseball individual streaks
List of Major League Baseball no-hitters
List of Major League Baseball single-game strikeout leaders
Major League Baseball titles leaders
Explanatory footnotes
References
External links
Tom Seaver at SABR (Baseball Biography Project)
Tom Seaver at Baseball Almanac
Tom Seaver at Baseball Library
Tom Seaver at Ultimate Mets Database
1944 births
2020 deaths
Baseball players from California
Boston Red Sox players
Chicago White Sox players
Cincinnati Reds players
Cy Young Award winners
Deaths from the COVID-19 pandemic in California
Neurological disease deaths in California
Deaths from Lewy body dementia
Fresno City Rams baseball players
Jacksonville Suns players
Major League Baseball broadcasters
Major League Baseball pitchers
Major League Baseball players with retired numbers
Major League Baseball Rookie of the Year Award winners
Military personnel from California
National Baseball Hall of Fame inductees
National League All-Stars
National League ERA champions
National League strikeout champions
National League wins champions
New York Mets announcers
New York Mets players
New York Yankees announcers
People from Calistoga, California
Sportspeople from Fresno, California
United States Marine Corps reservists
USC Trojans baseball players
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[
"is a former Japanese pitcher regarded as one of the best Japanese strikeout pitchers of all-time. In , he recorded 401 strikeouts, which is still the world record.\n\nEnatsu was a bit player in the Black Mist Scandal which embroiled Japanese baseball from 1969 to 1971. In November 1970 he received a stern warning from the Central League president due to \"involvement with persons in baseball gambling.\"\n\nHe recorded 9 consecutive strikeouts in one of the All-Star games, and 15 consecutive strikeouts in three of the All-Star games between and 1971. His consecutive strikeouts were broken up by Katsuya Nomura. The two records are still unbroken.\n\nA starting pitcher for the first part of his career, in 1977 he became a relief specialist, altogether accumulating 193 saves.\n\nWhile playing with the Hiroshima Toyo Carp in 1979, Enatsu was the Central League MVP, as he compiled a 9–5 record with a 2.67 ERA and 117 strikeouts in 104-2/3 innings. That year the Carp won the Central League pennant and the Japan Series.\n\nIn 1981, with the Nippon-Ham Fighters, Enatsu was the Pacific League MVP, garnering 25 saves and a 2.82 ERA, as the Fighters won the Pacific League pennant.\n\nEnatsu joined the Milwaukee Brewers for spring training in 1985 at age 36 in an attempt to play Major League Baseball. Enatsu finished spring training with a 4.91 ERA in 11 innings and was among the team's final cuts before the season.\n\nIn popular culture \nEnatsu is a major shadow-figure in Yōko Ogawa's novel The Housekeeper and the Professor (Hakase no ai shita sūshiki, 博士の愛した数式, 2003).\n\nReferences\n\nExternal links\n Career statistics and player information from Baseball-Reference\n\nNPB History (Japanese)\n\n1948 births\nLiving people\nPeople from Amagasaki\nBaseball people from Nara Prefecture\nNippon Professional Baseball pitchers\nHanshin Tigers players\nHiroshima Toyo Carp players\nNankai Hawks players\nNippon Ham Fighters players\nSeibu Lions players\nJapanese expatriate baseball players in the United States\nNippon Professional Baseball MVP Award winners",
"Kyle A. Sleeth (born December 20, 1981) is a former starting pitcher in the Detroit Tigers organization. Once touted as one of Major League Baseball's top prospects, his career in the Tigers' minor league organization was marred by injuries and he progressed no higher than Double-A; nonetheless, he showed enough promise to be placed on the Tigers' 40-man roster.\n\nCareer\nSleeth was drafted by the Baltimore Orioles in the 18th round (534th overall) in the 2000 Major League Baseball Draft, but did not sign and instead attended Wake Forest. As a freshman in , he went 10–3 with a 5.08 ERA and 56 strikeouts in 78.2 innings pitched to lead the nationally ranked Demon Deacons in wins. After the 2001 season, he played collegiate summer baseball for the Cotuit Kettleers of the Cape Cod Baseball League. In , Sleeth went undefeated with a 14–0 record with a 2.97 ERA and 113 strikeouts in 118.1 innings pitched. He led the Atlantic Coast Conference in wins, was second in the conference in strikeouts, and third in ERA. Baseball America named Sleeth the top pitching prospect in college baseball that year.\n\nIn , Sleeth returned for another year, going 7–3 with a 2.81 ERA and 102 strikeouts. He earned a spot on the All-Conference first team. On March 28, 2003, Sleeth tied the NCAA record for consecutive victories against Duke with his 26th straight win. He lost the bid to break the record losing against Florida State University on April 4, 2003. The 26 consecutive wins left him tied with former Brigham Young University pitcher Scott Nielsen, who established the mark in the and - seasons. USA Baseball named Sleeth a finalist for the Golden Spikes Award, given to the top amateur baseball player in the country. In 2019 Sleeth was inducted into the Wake Forest Sports Hall of Fame for his accomplishments as a Demon Deacon.\n\nSleeth would become the 3rd overall pick in the 1st round in the 2003 Major League Baseball Draft for the Detroit Tigers. He did not sign his professional contract until August, delaying his professional debut until the following year.\n\nHe missed the and part of the season when he underwent Tommy John surgery on June 9. He announced his retirement March 28, .\n\nReferences\n\nExternal links\n\n1981 births\nLiving people\nWake Forest University alumni\nLakeland Tigers players\nErie SeaWolves players\nGulf Coast Tigers players\nWake Forest Demon Deacons baseball players\nCotuit Kettleers players\nBaseball players from Colorado\nPeople from Thornton, Colorado"
] |
[
"Tom Seaver",
"300 wins",
"What happened in April 22?",
"I don't know.",
"Who was Tom Seaver?",
"Seaver pitched two and a half seasons in Chicago and recorded his last shutout on July 19, 1985 against the visiting Indians.",
"How many consecutive strikeouts did he have?",
"Seaver won two games on May 9, 1984;"
] |
C_34af306b3c494fa5b6ae0b20ca015a0f_0
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Who was Seaver compared to?
| 4 |
Who was Tom Seaver compared to?
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Tom Seaver
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Seaver and the Mets were stunned on January 20, 1984 when he was claimed in a free-agent compensation draft by the Chicago White Sox. The team (especially GM Frank Cashen) had incorrectly assumed that no one would pursue a high-salaried, 39-year-old starting pitcher, and left him off the protected list. Faced with either reporting to the White Sox or retiring, Seaver chose the former. The result for the Mets was an opening in the starting rotation that allowed Dwight Gooden to be part of the team. Seaver pitched two and a half seasons in Chicago and recorded his last shutout on July 19, 1985 against the visiting Indians. In an anomaly, Seaver won two games on May 9, 1984; he pitched the 25th and final inning of a game suspended the day before, picking up the win in relief against the Milwaukee Brewers, before starting and winning the day's regularly scheduled game, also facing the Brewers. After Seaver's 298th win, a reporter had pointed out to White Sox catcher Carlton Fisk that following his upcoming start in Boston, Seaver's next scheduled start would be in New York, and that the possibility existed that he might achieve the mark there. Fisk emphatically stated that Seaver would win in Boston, and then would win his 300th. On August 4, 1985, Seaver recorded his 300th victory at Yankee Stadium against the Yankees, throwing a complete game 4-1 victory. Don Baylor was the tying run at the plate; he hit a fly ball to left field for the final out of the game. Coincidentally, it was Phil Rizzuto Day - Seaver would later become Rizzuto's broadcast partner for Yankee games. Lindsey Nelson, a Mets radio and TV announcer during Seaver's Mets days, called the final out for Yankees TV flagship WPIX. CANNOTANSWER
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CANNOTANSWER
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George Thomas Seaver (November 17, 1944 – August 31, 2020), nicknamed "Tom Terrific" and "the Franchise", was an American professional baseball pitcher who played 20 seasons in Major League Baseball (MLB). He played for the New York Mets, Cincinnati Reds, Chicago White Sox, and Boston Red Sox from to . A longtime Met, Seaver played a significant role in their victory in the 1969 World Series over the Baltimore Orioles.
With the Mets, Seaver won the National League's (NL) Rookie of the Year Award in 1967, and won three NL Cy Young Awards as the league's best pitcher. He was a 12-time All-Star and ranks as the Mets' all-time leader in wins. During his MLB career, he compiled 311 wins, 3,640 strikeouts, 61 shutouts, and a 2.86 earned run average, and he threw a no-hitter in 1978.
In 1992, Seaver was inducted into the Baseball Hall of Fame by the highest percentage of votes ever recorded at the time. Along with Mike Piazza, he is one of two players wearing a New York Mets hat on his plaque in the Hall of Fame. Seaver's No. 41 was retired by the Mets in 1988, and New York City changed the address of Citi Field to 41 Seaver Way in 2019. Seaver is also a member of the New York Mets Hall of Fame and the Cincinnati Reds Hall of Fame.
Early life
Seaver was born in Fresno, California, to Betty Lee (née Cline) and Charles Henry Seaver. He attended Fresno High School and was a pitcher for the school's baseball team. Seaver compensated for his lack of size and strength by developing great control on the mound. Despite being an All-City basketball player, he hoped to play baseball in college. He joined the U.S. Marine Corps Reserve on June 28, 1962. He served with AIRFMFPAC 29 Palms, California, through July 1963. After six months of active duty in the reserve, Seaver enrolled at Fresno City College. He remained a part-time member of the reserve until his eight-year commitment ended in 1970.
The University of Southern California (USC) recruited Seaver to play college baseball. Unsure as to whether Seaver was worthy of a scholarship, USC sent him to pitch in Alaska for the Alaska Goldpanners of Fairbanks in the summer of 1964. After a stellar season, in which he pitched and won a game in the national tournament with a grand slam, USC head coach Rod Dedeaux awarded him a scholarship. As a sophomore in 1965, Seaver posted a 10–2 record for the Trojans, and he was selected in the tenth round of the 1965 Major League Baseball draft by the Los Angeles Dodgers. When Seaver asked for $70,000, however, the Dodgers passed.
In 1966, Seaver signed a professional contract with the Atlanta Braves, who had selected him in the first round of the secondary January draft, 20th overall. However, the contract was voided by Baseball Commissioner William Eckert because USC had played two exhibition games that year, although Seaver hadn't participated. He then intended to finish the college season, but because he had signed a pro contract, the NCAA ruled him ineligible. After Seaver's father complained to Eckert about the unfairness of the situation, and threatened a lawsuit, Eckert ruled that other teams could match the Braves' offer. The Mets were subsequently awarded his signing rights in a lottery drawing among the three teams (the Philadelphia Phillies and Cleveland Indians being the two others) that were willing to match the Braves' terms.
Professional playing career
Minor leagues (1966)
In 1966, Seaver was 12–12 with a 3.13 earned run average pitching in Class AAA with the Jacksonville Suns, the Mets' affiliate in the International League.
New York Mets (1967–1977)
Seaver made the Mets' roster in 1967, was named to the 1967 All-Star Game, and got the save by pitching a scoreless 15th inning. In his rookie season, Seaver was 16–13 for the last-place Mets, with 18 complete games, 170 strikeouts, and a 2.76 earned run average. Seaver was named the 1967 National League Rookie of the Year.
Seaver started for the Mets on Opening Day in 1968. He won 16 games again during that season, and recorded over 200 strikeouts for the first of nine consecutive seasons, but the Mets moved up only one spot in the standings, to ninth. In 1969, Seaver won a league-high 25 games, including nine consecutive complete-game victories. He won his first National League Cy Young Award. He also finished runner-up to Willie McCovey for the League's Most Valuable Player Award.
In front of a crowd of over 59,000 at New York's Shea Stadium on July 9, Seaver threw perfect innings against the division-leading Chicago Cubs. Rookie backup outfielder Jim Qualls broke up Seaver's bid for a perfect game when he lined a clean single to left field.
In the inaugural National League Championship Series, Seaver outlasted Atlanta's Phil Niekro in the first game for a 9–5 victory. Seaver was also the starter for Game One of the World Series, but lost a 4–1 decision to the Baltimore Orioles' Mike Cuellar. Seaver then pitched a 10-inning complete game for a 2–1 win in Game Four. The "Miracle Mets" won the series. At year's end, Seaver was presented with the Hickok Belt as the top professional athlete of the year and Sports Illustrated magazine's "Sportsman of the Year" award.
On April 22, 1970, Seaver set a major league record by striking out the final ten batters of the game in a 2–1 victory over the San Diego Padres at Shea Stadium. Al Ferrara, who had homered in the second inning for the Padres' run, accounted for both the first and the final strikeout of the streak. In addition to his ten consecutive strikeouts, Seaver tied Steve Carlton's major league record at the time, with 19 strikeouts in a nine-inning game. The Mets also won the game in which Carlton struck out 19, with Carlton victimized by Ron Swoboda's pair of 2-run homers in a 4–3 Mets' victory in St. Louis on September 15, 1969. (The record was later eclipsed by 20-strikeout games by Kerry Wood, Randy Johnson, Max Scherzer, and twice by Roger Clemens.) By mid-August, Seaver's record stood at 17–6 and he seemed well on his way to a second consecutive 20-victory season. But he only won one of his last ten starts, including four on short rest, to finish 18–12. Nonetheless, Seaver led the National League in both earned run average (2.82) and strikeouts (283).
In 1971, Seaver led the league in earned run average (1.76) and strikeouts (289 in 286 innings) while going 20–10. However, he finished second in the Cy Young balloting to Ferguson Jenkins of the Chicago Cubs, due to Jenkins' league-leading 24 wins, 325 innings pitched, and exceptional control numbers.
Seaver had four more 20-win seasons (20 in 1971, 21 in 1972, 22 in 1975, and 21 in 1977). He won two more Cy Young Awards (1973 and 1975, both with the Mets). Between 1970 and 1976, Seaver led the National League in strikeouts five times, while also finishing second in 1972 and third in 1974. Seaver also won three earned run average titles as a Met. Two famous quotes about Seaver are attributed to Reggie Jackson: "Blind men come to the park just to hear him pitch." The second was in the 1973 World series, with the Mets up 3 games to 2, and poised to win their second championship. Seaver started the game, but did not have his "arm" that day, and lost the game. Jackson is reported to have said "Seaver pitched with his heart that day." Seaver was known for his "drop and drive" overhand delivery, powered by his legs and trunk with his knee sinking to the ground.
Midnight Massacre
By , free agency had begun and contract negotiations between Mets' ownership and Seaver were not going well. Seaver wanted to renegotiate his contract to bring his salary in line with what other top pitchers were making, but chairman of the board M. Donald Grant, who by that time had been given carte blanche by Mets management to do what he wished, refused to budge. Longtime New York Daily News columnist Dick Young regularly wrote negative columns about Seaver's "greedy" demands. Seaver attempted to resolve the impasse by going to team owner Lorinda de Roulet, who along with general manager Joe McDonald, had negotiated in principle a three-year contract extension by mid-June. Before the contract could be signed, Young wrote an unattributed story in the Daily News saying that Seaver was being goaded by his wife to ask for more money because she was envious of Nolan Ryan making more money with the California Angels. Upon being informed of the story, Seaver informed de Roulet that he immediately wanted out, and asked McDonald to immediately trade him, feeling that he could not co-exist with Grant.
In one of two trades that New York's sports reporters dubbed "the Midnight Massacre" (the other involved struggling outfielder Dave Kingman), Seaver was traded to the Cincinnati Reds at the trading deadline, June 15, 1977, for pitcher Pat Zachry, minor league outfielder Steve Henderson, infielder Doug Flynn, and minor league outfielder Dan Norman.
Cincinnati Reds (1977–1982)
Seaver went 14–3 with the Reds and won 21 games in 1977, including an emotional 5–1 win over the Mets in his return to Shea Stadium. Seaver struck out 11 in the return, and also hit a double. He also received a lengthy ovation at the All-Star Game, held in New York's Yankee Stadium. His departure from New York sparked sustained negative fan reaction, as the Mets became the league's worst team, finishing in last place the next three seasons. Combined with the Yankees' resurgence in the market, attendance dipped in 1978, and plunged in 1979 to 9,740 per game. M. Donald Grant was fired after the 1978 season, and Joe McDonald was fired after the 1979 season following a sale of the team to publishing magnate Nelson Doubleday, Jr. In a sardonic nod to the general manager, Shea Stadium acquired the nickname "Grant's Tomb".
After having thrown five one-hitters for the Mets, including two games in which no-hit bids were broken up in the ninth inning, Seaver recorded a 4–0 no-hitter for the Reds in 1978 against the St. Louis Cardinals on June 16 at Riverfront Stadium. It was the only no-hitter of his professional career.
He led the Cincinnati pitching staff in 1979, when the Reds won the Western Division, and again in the strike-shortened 1981 season, when the Reds had the best record in the major leagues. In the latter season, Seaver, with his sterling 14–2 performance, was a close runner-up to Fernando Valenzuela for the 1981 Cy Young Award. (Seaver had finished third and fourth in two other previous years.) In 1981, during one of his two losses, Seaver recorded his 3,000th strikeout against Keith Hernandez of the St. Louis Cardinals. Then in 1982 he suffered through an injury-ridden campaign, finishing the season 5–13.
In six seasons with the Reds, Seaver was 75–46 with a 3.18 earned run average and 42 complete games in 158 starts.
Return to Mets (1983)
On December 16, 1982, Seaver was traded back to the Mets, for Charlie Puleo, Lloyd McClendon, and Jason Felice. On April 5, 1983, he tied Walter Johnson's major league record of 14 Opening Day starts, shutting out the Philadelphia Phillies for six innings in a 2–0 Mets win, but had a 9–14 record that season. The Mets exercised an option on Seaver's contract worth $750,000 for the 1984 season. Overall, in 12 seasons with the Mets, Seaver was 198–124 with a 2.57 earned run average in 3,045 innings with 171 complete games, winning three Cy Young awards, the 1969 World Series and the 1967 NL Rookie of the Year Award.
Chicago White Sox (1984–1986)
On January 20, 1984, the Chicago White Sox claimed Seaver from the Mets in a free-agent compensation draft. The Mets, especially general manager Frank Cashen incorrectly assumed that no one would pursue a high-salaried, 39-year-old starting pitcher and left him off the protected list.
Seaver pitched two and a half seasons in Chicago and recorded his last shutout on July 19, 1985, against the visiting Indians. In an anomaly, Seaver won two games on May 9, 1984; he pitched the 25th and final inning of a game suspended the day before, picking up the win in relief against the Milwaukee Brewers, before starting and winning the day's regularly scheduled game, also facing the Brewers.
On August 4, 1985, Seaver recorded his 300th victory at Yankee Stadium over the Yankees, throwing a complete game 4–1 victory.
In three seasons with the White Sox, Seaver was 33–28 with a 3.67 earned run average and 17 complete games in 81 appearances.
Boston Red Sox (1986)
Seaver started on Opening Day for the 16th and final time of his career in 1986. The White Sox traded Seaver to the Boston Red Sox for Steve Lyons in mid-season. Seaver's 311th and final win came on August 18, 1986, against the Minnesota Twins.
A knee injury prevented Seaver from appearing against the Mets in the World Series with the Red Sox, but he received among the loudest ovations during player introductions prior to Game 1. Roger Clemens attributes the time he shared with Seaver as teammates in 1986 as instrumental in helping him make the transition from thrower to pitcher. The Red Sox did not offer Seaver a contract to his liking for the 1987 season. His 1986 salary was $1 million; the Red Sox offered $500,000, which Seaver declined. When no new contract agreement was reached, Seaver was granted free agency on November 12, 1986.
Seaver was 5–7 with a 3.80 earned run average in 16 starts with Boston in 1986.
In 1987, the Mets starting rotation was decimated by injury and they sought help from Seaver. Though no contract was signed, Seaver joined the club on June 6, and was hit hard in an exhibition game against the Triple-A Tidewater Tides on June 11. After similarly poor outings on June 16 and 20, he announced his retirement, saying that, "there were no more pitches in this 42-year-old arm that were competitive. I've used them all up."
Career statistics
Source:
Awards and honors
The Mets retired Seaver's uniform number 41 in 1988 in a Tom Seaver Day ceremony, making him the franchise's first player to be so honored.
Seaver was elected to the Baseball Hall of Fame on January 7, 1992, with the then-highest percentage of votes with 98.84%. He was named on 425 out of 430 ballots. Three of the five ballots that had omitted Seaver were blank, cast by writers protesting the Hall's decision to make Pete Rose ineligible for consideration. One ballot was sent by a writer who was recovering from open-heart surgery and failed to notice Seaver's name. The fifth "no" vote was cast by a writer who said he never voted for any player in their first year of eligibility. Seaver is one of two players enshrined in the Hall of Fame with a Mets cap on his plaque, along with Mike Piazza. He was also inducted into the New York Mets Hall of Fame, the Marine Corps Sports Hall of Fame, and the Cincinnati Reds Hall of Fame.
On September 28, 2006, Seaver was chosen as the "Hometown Hero" for the Mets franchise by ESPN. Seaver made a return to Shea Stadium during the "Shea Goodbye" closing ceremony on September 28, 2008, where he threw out the final pitch in the history of the stadium to Piazza. Along with Piazza he opened the Mets' new home, Citi Field with the ceremonial first pitch on April 13, 2009.
The 2013 Major League Baseball All-Star Game was dedicated to Seaver. He concluded the introduction of the starting lineup ceremonies by throwing out the ceremonial first pitch. Mets player David Wright participated. In 2019, the New York City renamed the street outside Citi Field from 126th Street to Seaver Way and changed the ballpark's address to 41 Seaver Way, a salute of the number he wore throughout his career.
In 2017, Seaver was awarded the Bob Feller Act of Valor Award as the Hall of Fame recipient.
Legacy
Only Seaver and Walter Johnson have 300 wins, 3,000 strikeouts, and an earned run average under 3.00. Seaver's 16 Opening-Day starts are an MLB record. At the time of his retirement, he was third on MLB's all-time strikeout list (3,640), trailing only his former teammate Nolan Ryan and Steve Carlton; he currently ranks sixth all time. Seaver is tied with Ryan for the seventh-most shutouts in MLB history (61). His feat of striking out ten consecutive batters has only been matched once, by Aaron Nola in 2021. He also holds the record for consecutive 200-strikeout seasons with nine (1968–1976). In 1999, Seaver ranked 32nd on Sporting News list of the 100 Greatest Baseball Players, the only player to have spent a majority of his career with the Mets to make the list. In 2016, ESPN.com ranked Seaver 34th on its list of the greatest MLB players, while The Athletic ranked him the 41st-greatest player in 2020.
Seaver could also help himself at the plate. A decent hitter and proficient bunter, Seaver hit 12 home runs during his career, along with a relatively solid lifetime batting average, for a pitcher, of .154.
Seaver approached Hank Aaron before his first All-Star Game in 1967 and asked Aaron for his autograph. Seaver felt the need to introduce himself to Aaron, as he was certain "Hammerin' Hank" would not know who he was. Aaron replied to Seaver, "Kid, I know who you are, and before your career is over, I guarantee you everyone in this stadium will, too."
In 2020, Bill Madden wrote Tom Seaver, A Terrific Life in honor of his friend.
Broadcasting career
Seaver's television broadcasting experience dated back to his playing career, when he was invited to serve as a World Series analyst for ABC in and for NBC in , , and . Also while an active player, Seaver called the 1981 National League Division Series between Montreal and Philadelphia and that year's National League Championship Series alongside Dick Enberg for NBC.
After retiring as a player, Seaver worked as a television color commentator for the Mets, the New York Yankees, and with Vin Scully in 1989 for NBC. Seaver replaced Joe Garagiola as NBC's lead baseball color commentator, which led to him calling the 1989 All-Star Game and National League Championship Series. He worked as an analyst for Yankees' telecasts on WPIX from 1989 to 1993 and for Mets telecasts on WPIX from 1999 to 2005, making him one of three sportscasters to be regular announcers for both teams; the others are Fran Healy and Tim McCarver.
Personal life and death
Seaver married Nancy Lynn McIntyre on June 9, 1966. They were the parents of two daughters, Sarah and Annie. They lived in Calistoga, California, where Seaver started his own 3.5-acre (1.4 ha) vineyard, Seaver Family Vineyards, on his 116-acre (47 ha) estate, in 2002. His first vintage was produced in 2005. He presented his two cabernets, "Nancy's Fancy" and "GTS," at an April 2010 wine-tasting event in SoHo, to positive reviews.
His media nickname referred to the cartoon character Tom Terrific. In 2019, NFL quarterback Tom Brady was denied the trademark "Tom Terrific", when the United States Patent and Trademark Office said it "may falsely suggest a connection with Tom Seaver".
In 2013, it was reported that Seaver suffered from memory loss, not even remembering long-term acquaintances and experiencing symptoms of "sleep disorder, nausea, and a general overall feeling of chemical imbalance". According to former teammate Bud Harrelson, Seaver was "otherwise doing well". On March 7, 2019, Seaver's family announced that he had dementia and was retiring from public life.
Seaver died in his sleep as a result of complications from Lewy body dementia and COVID-19 on August 31, 2020, during the COVID-19 pandemic in California. He was 75.
See also
300 win club
3,000 strikeout club
List of celebrities who own wineries and vineyards
List of Major League Baseball career wins leaders
List of Major League Baseball individual streaks
List of Major League Baseball no-hitters
List of Major League Baseball single-game strikeout leaders
Major League Baseball titles leaders
Explanatory footnotes
References
External links
Tom Seaver at SABR (Baseball Biography Project)
Tom Seaver at Baseball Almanac
Tom Seaver at Baseball Library
Tom Seaver at Ultimate Mets Database
1944 births
2020 deaths
Baseball players from California
Boston Red Sox players
Chicago White Sox players
Cincinnati Reds players
Cy Young Award winners
Deaths from the COVID-19 pandemic in California
Neurological disease deaths in California
Deaths from Lewy body dementia
Fresno City Rams baseball players
Jacksonville Suns players
Major League Baseball broadcasters
Major League Baseball pitchers
Major League Baseball players with retired numbers
Major League Baseball Rookie of the Year Award winners
Military personnel from California
National Baseball Hall of Fame inductees
National League All-Stars
National League ERA champions
National League strikeout champions
National League wins champions
New York Mets announcers
New York Mets players
New York Yankees announcers
People from Calistoga, California
Sportspeople from Fresno, California
United States Marine Corps reservists
USC Trojans baseball players
| false |
[
"Benjamin Seaver (April 12, 1795 – February 14, 1856) was an American politician, serving as the thirteenth mayor of Boston, Massachusetts from January 5, 1852 to January 2, 1854.\n\nEarly life\n\nSeaver was born in Roxbury, Massachusetts In 1812 Seaver became an apprentice at the auction and commission store of Whitwell & Bond. In 1816 Seaver became a partner in the firm which was renamed Whitwell, Bond & Co. In 1818, Seaver purchased 5 shares of the Suffolk Bank, a clearinghouse bank on State Street in Boston.\n\nSeaver married Sarah Johnson.\n\nPolitical career\n\nCity of Boston Common Council\n\nSeaver was first elected to represent Boston's Ward 5 as a member of the Common Council in 1845. He was reelected to the Common Council from Ward 5 in 1846 and 1847. In 1848 Seaver moved to Ward 4 and was subsequently elected as a councilor from the new ward in 1848 and 1849.\n\nIn July 1847 Seaver was elected as President of the Common Council and he held that position for the two and a half years that he remained on the City of Boston Common Council.\n\nMassachusetts legislature\nFrom 1846 to 1848 Seaver served as a member of the Massachusetts House of Representatives and in 1850 and 1851 he was elected to the Massachusetts Senate.\n\nSee also\n Timeline of Boston, 1840s-1850s\n\nReferences \n\nMayors of Boston\nMembers of the Massachusetts House of Representatives\nMassachusetts Whigs\n19th-century American politicians\nMassachusetts city council members\nMassachusetts state senators\n1856 deaths\n1795 births",
"George Thomas Seaver (November 17, 1944 – August 31, 2020), nicknamed \"Tom Terrific\" and \"the Franchise\", was an American professional baseball pitcher who played 20 seasons in Major League Baseball (MLB). He played for the New York Mets, Cincinnati Reds, Chicago White Sox, and Boston Red Sox from to . A longtime Met, Seaver played a significant role in their victory in the 1969 World Series over the Baltimore Orioles.\n\nWith the Mets, Seaver won the National League's (NL) Rookie of the Year Award in 1967, and won three NL Cy Young Awards as the league's best pitcher. He was a 12-time All-Star and ranks as the Mets' all-time leader in wins. During his MLB career, he compiled 311 wins, 3,640 strikeouts, 61 shutouts, and a 2.86 earned run average, and he threw a no-hitter in 1978.\n\nIn 1992, Seaver was inducted into the Baseball Hall of Fame by the highest percentage of votes ever recorded at the time. Along with Mike Piazza, he is one of two players wearing a New York Mets hat on his plaque in the Hall of Fame. Seaver's No. 41 was retired by the Mets in 1988, and New York City changed the address of Citi Field to 41 Seaver Way in 2019. Seaver is also a member of the New York Mets Hall of Fame and the Cincinnati Reds Hall of Fame.\n\nEarly life\nSeaver was born in Fresno, California, to Betty Lee (née Cline) and Charles Henry Seaver. He attended Fresno High School and was a pitcher for the school's baseball team. Seaver compensated for his lack of size and strength by developing great control on the mound. Despite being an All-City basketball player, he hoped to play baseball in college. He joined the U.S. Marine Corps Reserve on June 28, 1962. He served with AIRFMFPAC 29 Palms, California, through July 1963. After six months of active duty in the reserve, Seaver enrolled at Fresno City College. He remained a part-time member of the reserve until his eight-year commitment ended in 1970.\n\nThe University of Southern California (USC) recruited Seaver to play college baseball. Unsure as to whether Seaver was worthy of a scholarship, USC sent him to pitch in Alaska for the Alaska Goldpanners of Fairbanks in the summer of 1964. After a stellar season, in which he pitched and won a game in the national tournament with a grand slam, USC head coach Rod Dedeaux awarded him a scholarship. As a sophomore in 1965, Seaver posted a 10–2 record for the Trojans, and he was selected in the tenth round of the 1965 Major League Baseball draft by the Los Angeles Dodgers. When Seaver asked for $70,000, however, the Dodgers passed.\n\nIn 1966, Seaver signed a professional contract with the Atlanta Braves, who had selected him in the first round of the secondary January draft, 20th overall. However, the contract was voided by Baseball Commissioner William Eckert because USC had played two exhibition games that year, although Seaver hadn't participated. He then intended to finish the college season, but because he had signed a pro contract, the NCAA ruled him ineligible. After Seaver's father complained to Eckert about the unfairness of the situation, and threatened a lawsuit, Eckert ruled that other teams could match the Braves' offer. The Mets were subsequently awarded his signing rights in a lottery drawing among the three teams (the Philadelphia Phillies and Cleveland Indians being the two others) that were willing to match the Braves' terms.\n\nProfessional playing career\n\nMinor leagues (1966)\nIn 1966, Seaver was 12–12 with a 3.13 earned run average pitching in Class AAA with the Jacksonville Suns, the Mets' affiliate in the International League.\n\nNew York Mets (1967–1977)\nSeaver made the Mets' roster in 1967, was named to the 1967 All-Star Game, and got the save by pitching a scoreless 15th inning. In his rookie season, Seaver was 16–13 for the last-place Mets, with 18 complete games, 170 strikeouts, and a 2.76 earned run average. Seaver was named the 1967 National League Rookie of the Year.\n\nSeaver started for the Mets on Opening Day in 1968. He won 16 games again during that season, and recorded over 200 strikeouts for the first of nine consecutive seasons, but the Mets moved up only one spot in the standings, to ninth. In 1969, Seaver won a league-high 25 games, including nine consecutive complete-game victories. He won his first National League Cy Young Award. He also finished runner-up to Willie McCovey for the League's Most Valuable Player Award.\n\nIn front of a crowd of over 59,000 at New York's Shea Stadium on July 9, Seaver threw perfect innings against the division-leading Chicago Cubs. Rookie backup outfielder Jim Qualls broke up Seaver's bid for a perfect game when he lined a clean single to left field.\n\nIn the inaugural National League Championship Series, Seaver outlasted Atlanta's Phil Niekro in the first game for a 9–5 victory. Seaver was also the starter for Game One of the World Series, but lost a 4–1 decision to the Baltimore Orioles' Mike Cuellar. Seaver then pitched a 10-inning complete game for a 2–1 win in Game Four. The \"Miracle Mets\" won the series. At year's end, Seaver was presented with the Hickok Belt as the top professional athlete of the year and Sports Illustrated magazine's \"Sportsman of the Year\" award.\n\nOn April 22, 1970, Seaver set a major league record by striking out the final ten batters of the game in a 2–1 victory over the San Diego Padres at Shea Stadium. Al Ferrara, who had homered in the second inning for the Padres' run, accounted for both the first and the final strikeout of the streak. In addition to his ten consecutive strikeouts, Seaver tied Steve Carlton's major league record at the time, with 19 strikeouts in a nine-inning game. The Mets also won the game in which Carlton struck out 19, with Carlton victimized by Ron Swoboda's pair of 2-run homers in a 4–3 Mets' victory in St. Louis on September 15, 1969. (The record was later eclipsed by 20-strikeout games by Kerry Wood, Randy Johnson, Max Scherzer, and twice by Roger Clemens.) By mid-August, Seaver's record stood at 17–6 and he seemed well on his way to a second consecutive 20-victory season. But he only won one of his last ten starts, including four on short rest, to finish 18–12. Nonetheless, Seaver led the National League in both earned run average (2.82) and strikeouts (283).\n\nIn 1971, Seaver led the league in earned run average (1.76) and strikeouts (289 in 286 innings) while going 20–10. However, he finished second in the Cy Young balloting to Ferguson Jenkins of the Chicago Cubs, due to Jenkins' league-leading 24 wins, 325 innings pitched, and exceptional control numbers.\n\nSeaver had four more 20-win seasons (20 in 1971, 21 in 1972, 22 in 1975, and 21 in 1977). He won two more Cy Young Awards (1973 and 1975, both with the Mets). Between 1970 and 1976, Seaver led the National League in strikeouts five times, while also finishing second in 1972 and third in 1974. Seaver also won three earned run average titles as a Met. Two famous quotes about Seaver are attributed to Reggie Jackson: \"Blind men come to the park just to hear him pitch.\" The second was in the 1973 World series, with the Mets up 3 games to 2, and poised to win their second championship. Seaver started the game, but did not have his \"arm\" that day, and lost the game. Jackson is reported to have said \"Seaver pitched with his heart that day.\" Seaver was known for his \"drop and drive\" overhand delivery, powered by his legs and trunk with his knee sinking to the ground.\n\nMidnight Massacre\nBy , free agency had begun and contract negotiations between Mets' ownership and Seaver were not going well. Seaver wanted to renegotiate his contract to bring his salary in line with what other top pitchers were making, but chairman of the board M. Donald Grant, who by that time had been given carte blanche by Mets management to do what he wished, refused to budge. Longtime New York Daily News columnist Dick Young regularly wrote negative columns about Seaver's \"greedy\" demands. Seaver attempted to resolve the impasse by going to team owner Lorinda de Roulet, who along with general manager Joe McDonald, had negotiated in principle a three-year contract extension by mid-June. Before the contract could be signed, Young wrote an unattributed story in the Daily News saying that Seaver was being goaded by his wife to ask for more money because she was envious of Nolan Ryan making more money with the California Angels. Upon being informed of the story, Seaver informed de Roulet that he immediately wanted out, and asked McDonald to immediately trade him, feeling that he could not co-exist with Grant.\n\nIn one of two trades that New York's sports reporters dubbed \"the Midnight Massacre\" (the other involved struggling outfielder Dave Kingman), Seaver was traded to the Cincinnati Reds at the trading deadline, June 15, 1977, for pitcher Pat Zachry, minor league outfielder Steve Henderson, infielder Doug Flynn, and minor league outfielder Dan Norman.\n\nCincinnati Reds (1977–1982)\nSeaver went 14–3 with the Reds and won 21 games in 1977, including an emotional 5–1 win over the Mets in his return to Shea Stadium. Seaver struck out 11 in the return, and also hit a double. He also received a lengthy ovation at the All-Star Game, held in New York's Yankee Stadium. His departure from New York sparked sustained negative fan reaction, as the Mets became the league's worst team, finishing in last place the next three seasons. Combined with the Yankees' resurgence in the market, attendance dipped in 1978, and plunged in 1979 to 9,740 per game. M. Donald Grant was fired after the 1978 season, and Joe McDonald was fired after the 1979 season following a sale of the team to publishing magnate Nelson Doubleday, Jr. In a sardonic nod to the general manager, Shea Stadium acquired the nickname \"Grant's Tomb\".\n\nAfter having thrown five one-hitters for the Mets, including two games in which no-hit bids were broken up in the ninth inning, Seaver recorded a 4–0 no-hitter for the Reds in 1978 against the St. Louis Cardinals on June 16 at Riverfront Stadium. It was the only no-hitter of his professional career.\n\nHe led the Cincinnati pitching staff in 1979, when the Reds won the Western Division, and again in the strike-shortened 1981 season, when the Reds had the best record in the major leagues. In the latter season, Seaver, with his sterling 14–2 performance, was a close runner-up to Fernando Valenzuela for the 1981 Cy Young Award. (Seaver had finished third and fourth in two other previous years.) In 1981, during one of his two losses, Seaver recorded his 3,000th strikeout against Keith Hernandez of the St. Louis Cardinals. Then in 1982 he suffered through an injury-ridden campaign, finishing the season 5–13.\n\nIn six seasons with the Reds, Seaver was 75–46 with a 3.18 earned run average and 42 complete games in 158 starts.\n\nReturn to Mets (1983)\nOn December 16, 1982, Seaver was traded back to the Mets, for Charlie Puleo, Lloyd McClendon, and Jason Felice. On April 5, 1983, he tied Walter Johnson's major league record of 14 Opening Day starts, shutting out the Philadelphia Phillies for six innings in a 2–0 Mets win, but had a 9–14 record that season. The Mets exercised an option on Seaver's contract worth $750,000 for the 1984 season. Overall, in 12 seasons with the Mets, Seaver was 198–124 with a 2.57 earned run average in 3,045 innings with 171 complete games, winning three Cy Young awards, the 1969 World Series and the 1967 NL Rookie of the Year Award.\n\nChicago White Sox (1984–1986)\nOn January 20, 1984, the Chicago White Sox claimed Seaver from the Mets in a free-agent compensation draft. The Mets, especially general manager Frank Cashen incorrectly assumed that no one would pursue a high-salaried, 39-year-old starting pitcher and left him off the protected list.\n\nSeaver pitched two and a half seasons in Chicago and recorded his last shutout on July 19, 1985, against the visiting Indians. In an anomaly, Seaver won two games on May 9, 1984; he pitched the 25th and final inning of a game suspended the day before, picking up the win in relief against the Milwaukee Brewers, before starting and winning the day's regularly scheduled game, also facing the Brewers.\n\nOn August 4, 1985, Seaver recorded his 300th victory at Yankee Stadium over the Yankees, throwing a complete game 4–1 victory.\n\nIn three seasons with the White Sox, Seaver was 33–28 with a 3.67 earned run average and 17 complete games in 81 appearances.\n\nBoston Red Sox (1986)\n\nSeaver started on Opening Day for the 16th and final time of his career in 1986. The White Sox traded Seaver to the Boston Red Sox for Steve Lyons in mid-season. Seaver's 311th and final win came on August 18, 1986, against the Minnesota Twins.\n\nA knee injury prevented Seaver from appearing against the Mets in the World Series with the Red Sox, but he received among the loudest ovations during player introductions prior to Game 1. Roger Clemens attributes the time he shared with Seaver as teammates in 1986 as instrumental in helping him make the transition from thrower to pitcher. The Red Sox did not offer Seaver a contract to his liking for the 1987 season. His 1986 salary was $1 million; the Red Sox offered $500,000, which Seaver declined. When no new contract agreement was reached, Seaver was granted free agency on November 12, 1986.\n\nSeaver was 5–7 with a 3.80 earned run average in 16 starts with Boston in 1986.\n\nIn 1987, the Mets starting rotation was decimated by injury and they sought help from Seaver. Though no contract was signed, Seaver joined the club on June 6, and was hit hard in an exhibition game against the Triple-A Tidewater Tides on June 11. After similarly poor outings on June 16 and 20, he announced his retirement, saying that, \"there were no more pitches in this 42-year-old arm that were competitive. I've used them all up.\"\n\nCareer statistics\n\nSource:\n\nAwards and honors\n\nThe Mets retired Seaver's uniform number 41 in 1988 in a Tom Seaver Day ceremony, making him the franchise's first player to be so honored.\n\nSeaver was elected to the Baseball Hall of Fame on January 7, 1992, with the then-highest percentage of votes with 98.84%. He was named on 425 out of 430 ballots. Three of the five ballots that had omitted Seaver were blank, cast by writers protesting the Hall's decision to make Pete Rose ineligible for consideration. One ballot was sent by a writer who was recovering from open-heart surgery and failed to notice Seaver's name. The fifth \"no\" vote was cast by a writer who said he never voted for any player in their first year of eligibility. Seaver is one of two players enshrined in the Hall of Fame with a Mets cap on his plaque, along with Mike Piazza. He was also inducted into the New York Mets Hall of Fame, the Marine Corps Sports Hall of Fame, and the Cincinnati Reds Hall of Fame.\n\nOn September 28, 2006, Seaver was chosen as the \"Hometown Hero\" for the Mets franchise by ESPN. Seaver made a return to Shea Stadium during the \"Shea Goodbye\" closing ceremony on September 28, 2008, where he threw out the final pitch in the history of the stadium to Piazza. Along with Piazza he opened the Mets' new home, Citi Field with the ceremonial first pitch on April 13, 2009.\n\nThe 2013 Major League Baseball All-Star Game was dedicated to Seaver. He concluded the introduction of the starting lineup ceremonies by throwing out the ceremonial first pitch. Mets player David Wright participated. In 2019, the New York City renamed the street outside Citi Field from 126th Street to Seaver Way and changed the ballpark's address to 41 Seaver Way, a salute of the number he wore throughout his career.\n\nIn 2017, Seaver was awarded the Bob Feller Act of Valor Award as the Hall of Fame recipient.\n\nLegacy\nOnly Seaver and Walter Johnson have 300 wins, 3,000 strikeouts, and an earned run average under 3.00. Seaver's 16 Opening-Day starts are an MLB record. At the time of his retirement, he was third on MLB's all-time strikeout list (3,640), trailing only his former teammate Nolan Ryan and Steve Carlton; he currently ranks sixth all time. Seaver is tied with Ryan for the seventh-most shutouts in MLB history (61). His feat of striking out ten consecutive batters has only been matched once, by Aaron Nola in 2021. He also holds the record for consecutive 200-strikeout seasons with nine (1968–1976). In 1999, Seaver ranked 32nd on Sporting News list of the 100 Greatest Baseball Players, the only player to have spent a majority of his career with the Mets to make the list. In 2016, ESPN.com ranked Seaver 34th on its list of the greatest MLB players, while The Athletic ranked him the 41st-greatest player in 2020.\n\nSeaver could also help himself at the plate. A decent hitter and proficient bunter, Seaver hit 12 home runs during his career, along with a relatively solid lifetime batting average, for a pitcher, of .154.\n\nSeaver approached Hank Aaron before his first All-Star Game in 1967 and asked Aaron for his autograph. Seaver felt the need to introduce himself to Aaron, as he was certain \"Hammerin' Hank\" would not know who he was. Aaron replied to Seaver, \"Kid, I know who you are, and before your career is over, I guarantee you everyone in this stadium will, too.\"\n\nIn 2020, Bill Madden wrote Tom Seaver, A Terrific Life in honor of his friend.\n\nBroadcasting career\n\nSeaver's television broadcasting experience dated back to his playing career, when he was invited to serve as a World Series analyst for ABC in and for NBC in , , and . Also while an active player, Seaver called the 1981 National League Division Series between Montreal and Philadelphia and that year's National League Championship Series alongside Dick Enberg for NBC.\n\nAfter retiring as a player, Seaver worked as a television color commentator for the Mets, the New York Yankees, and with Vin Scully in 1989 for NBC. Seaver replaced Joe Garagiola as NBC's lead baseball color commentator, which led to him calling the 1989 All-Star Game and National League Championship Series. He worked as an analyst for Yankees' telecasts on WPIX from 1989 to 1993 and for Mets telecasts on WPIX from 1999 to 2005, making him one of three sportscasters to be regular announcers for both teams; the others are Fran Healy and Tim McCarver.\n\nPersonal life and death\nSeaver married Nancy Lynn McIntyre on June 9, 1966. They were the parents of two daughters, Sarah and Annie. They lived in Calistoga, California, where Seaver started his own 3.5-acre (1.4 ha) vineyard, Seaver Family Vineyards, on his 116-acre (47 ha) estate, in 2002. His first vintage was produced in 2005. He presented his two cabernets, \"Nancy's Fancy\" and \"GTS,\" at an April 2010 wine-tasting event in SoHo, to positive reviews.\n\nHis media nickname referred to the cartoon character Tom Terrific. In 2019, NFL quarterback Tom Brady was denied the trademark \"Tom Terrific\", when the United States Patent and Trademark Office said it \"may falsely suggest a connection with Tom Seaver\".\n\nIn 2013, it was reported that Seaver suffered from memory loss, not even remembering long-term acquaintances and experiencing symptoms of \"sleep disorder, nausea, and a general overall feeling of chemical imbalance\". According to former teammate Bud Harrelson, Seaver was \"otherwise doing well\". On March 7, 2019, Seaver's family announced that he had dementia and was retiring from public life.\n\nSeaver died in his sleep as a result of complications from Lewy body dementia and COVID-19 on August 31, 2020, during the COVID-19 pandemic in California. He was 75.\n\nSee also\n\n 300 win club\n 3,000 strikeout club\n List of celebrities who own wineries and vineyards\n List of Major League Baseball career wins leaders\n List of Major League Baseball individual streaks\n List of Major League Baseball no-hitters\n List of Major League Baseball single-game strikeout leaders\n Major League Baseball titles leaders\n\nExplanatory footnotes\n\nReferences\n\nExternal links\n\n Tom Seaver at SABR (Baseball Biography Project)\n Tom Seaver at Baseball Almanac\n Tom Seaver at Baseball Library\n Tom Seaver at Ultimate Mets Database\n \n\n1944 births\n2020 deaths\nBaseball players from California\nBoston Red Sox players\nChicago White Sox players\nCincinnati Reds players\nCy Young Award winners\nDeaths from the COVID-19 pandemic in California\nNeurological disease deaths in California\nDeaths from Lewy body dementia\nFresno City Rams baseball players\nJacksonville Suns players\nMajor League Baseball broadcasters\nMajor League Baseball pitchers\nMajor League Baseball players with retired numbers\nMajor League Baseball Rookie of the Year Award winners\nMilitary personnel from California\nNational Baseball Hall of Fame inductees\nNational League All-Stars\nNational League ERA champions\nNational League strikeout champions\nNational League wins champions\nNew York Mets announcers\nNew York Mets players\nNew York Yankees announcers\nPeople from Calistoga, California\nSportspeople from Fresno, California\nUnited States Marine Corps reservists\nUSC Trojans baseball players"
] |
[
"From First to Last",
"Heroine (2006)"
] |
C_8360e6920a814dc2a7b81eb7fa17d25e_1
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When was heroine released
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When was heroine released?
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From First to Last
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The band went to Radio Star Studios in Weed, California to record their second album, produced by Ross Robinson. As their previous bassist Weisberg had been formally asked to leave the band due to internal conflicts, producer Ross Robinson asked Wes Borland, former Limp Bizkit guitarist, to play bass on the album. Borland later played several tours with the band. The album was released on March 21, 2006. It opened on the Billboard albums chart at No. 25, with first-week sales of over 33,000. Shortly thereafter in April, they signed to major label Capitol Records after bidding between that label and Warner Bros.. From mid March to mid May the band toured alongside Fall Out Boy, Hawthorne Heights and The All-American Rejects for the "Black Clouds and Underdogs Tour" in support of their release Heroine. FFTL then did a short European Tour with various bands. The band then played several dates on the 2006 Vans Warped Tour, but were forced to drop out due to surgical removal of a nodule on Moore's vocal cords. He received his second nodule surgery in early July (his first being in May 2005). Following his recovery, From First to Last went out on the "World Championship Tour" supporting Atreyu along with Every Time I Die and Chiodos. While on that tour, Moore once again had vocal cord problems and had to leave the tour. The band had planned to have guitarists Good and Richter cover Moore's vocal duties for the duration of the tour until singer of Chiodos, Craig Owens, insisted that he provide lead vocals for their sets. Atreyu eventually forced From First to Last to drop the tour. The band later explained, "Our plan to enable us to play the rest of the tour was disregarded and as our crew was setting up for the show in Worcester, MA we were informed that we were being kicked off of the tour. Understand that it was not our choice to leave this tour... we were forced to leave." Atreyu then returned a statement about the controversy concerning From First to Last's departure, saying, "They couldn't perform as FFTL and are no longer on this tour." Borland toured with From First To Last roughly since early 2006. He announced plans for a Fall 2006 tour that never went through due to Black Light Burns needing to find a new record label after Borland left Geffen Records. Borland has discussed plans to write and perform on the next From First To Last album, but he left the band due to Black Light Burns' busy schedule started to pick up, leaving no room for work with From First to Last. CANNOTANSWER
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The album was released on March 21, 2006.
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From First to Last is an American post-hardcore band based in the Los Angeles Area and Tampa, Florida. Formed by Matt Good, Scott Oord, and Parker Nelms in November 1999, the current line-up consists of Matt Good (lead guitar), Sonny Moore (lead vocals), Travis Richter (rhythm guitar), and Derek Bloom (drums).
The band released their first EP titled Aesthetic in 2003 which they recorded with founding member and vocalist Phillip Reardon who left the band in 2004 due to personal and creative differences. Dear Diary, My Teen Angst Has a Bodycount followed in 2004 and Heroine in 2006, both with Moore.
Following the departure of Moore in February 2007 to work on his solo electronic project, the band added permanent bassist Matt Manning, and Good moved to lead vocals/guitar. Their third self-titled studio album was released in 2008 on Suretone Records. In August 2009 the band signed to Rise Records. In late 2009, Richter left the band. Their fourth studio album, Throne to the Wolves was released on March 16, 2010. On July 28, 2010, the band entered a hiatus.
In November 2013, the band re-formed, with Periphery vocalist Spencer Sotelo as the new lead vocalist, as well as Richter rejoining the band. They released their fifth album Dead Trees in April 2015. Sotelo departed the band in July 2016. Former vocalist Sonny Moore rejoined the band in January 2017. In May 2020 Matt Good admitted that while there are a few tracks that could be on a new album, he's unsure if it will ever come to fruition.
History
Formation and Aesthetic (1999–2003)
First Too Last was created in November 1999 in Tampa by Matt Good, Michael Blanchard and Scott Oord. Scott played bass, while Matt took on lead vocals and was convinced by Scott to also play guitar. Parker Nelms (drums) held practice at his house, but when the band began to travel, Parker was too young to do so. He was replaced by Steve Pullman to round out the lineup that, for the next three years, would play small shows in Florida.
In 2002, Matt joined the grindcore band The Color of Violence (at that time, called Slaughter vs Skeleton, Fetus Destroyer), where he met Travis Richter (guitar), who would later join First To Last, and Joey Antillion (bass). Some time later, Greg Taylor joined as (drums), who wrote about 4 songs, in which the Aesthetic Demos were created. After hearing the demos of what would be their first EP, Phillip Reardon (lead vocals) and Derek Bloom (drums) joined the band.
In 2003, the band released their debut EP Aesthetic on Four Leaf Recordings which featured the vocals of Reardon, Good and Richter. By the end of the year, they had changed their name to From First To Last and signed to Epitaph Records.
Dear Diary, My Teen Angst Has a Bodycount (2004)
After the Aesthetic EP, the band wanted to move Matt Good to lead vocals. However, Good was reluctant to take on both lead vocal and lead guitar duties. He wanted From First to Last to have a frontman, to connect with the crowd better. Using the social networking site MySpace, Good came in contact with a guitarist and singer from California, Sonny Moore. Moore flew to Valdosta, Georgia, where Dear Diary, My Teen Angst Has a Bodycount was being recorded, and was set to be the band's rhythm guitarist. However, when the other band members heard Moore singing "Featuring Some of Your Favorite Words", they decided that he was much better suited for lead singer than guitarist.
Matt Good wrote the album in two weeks. Moore came in after the music was tracked and completed the vocals. Dear Diary, My Teen Angst Has a Bodycount was released on June 29, 2004.
From late May to mid-June 2005, From First to Last participated in the "Dead by Dawn" tour with bands Emanuel, Halifax and He Is Legend.
Heroine (2006)
The band went to Radio Star Studios in Weed, California to record their second album, produced by Ross Robinson. As their previous bassist Weisberg had been formally asked to leave the band due to internal conflicts, producer Ross Robinson asked Wes Borland, former Limp Bizkit guitarist, to play bass on the album. Borland later played several tours with the band. The album was released on March 21, 2006. It opened on the Billboard albums chart at No. 25, with first-week sales of over 33,000. Shortly thereafter in April, they signed to major label Capitol Records after bidding between that label and Warner Bros.
From mid March to mid May the band toured alongside Fall Out Boy, Hawthorne Heights and The All-American Rejects for the "Black Clouds and Underdogs Tour" in support of their release Heroine.
FFTL then did a short European Tour with various bands. The band then played several dates on the 2006 Vans Warped Tour, but were forced to drop out due to surgical removal of a nodule on Moore's vocal cords. He received his second nodule surgery in early July (his first being in May 2005). Following his recovery, From First to Last went out on the "World Championship Tour" supporting Atreyu along with Every Time I Die and Chiodos. While on that tour, Moore once again had vocal cord problems and had to leave the tour. The band had planned to have guitarists Good and Richter cover Moore's vocal duties for the duration of the tour until singer of Chiodos, Craig Owens, insisted that he provide lead vocals for their sets. Atreyu eventually forced From First to Last to drop the tour. The band later explained, "Our plan to enable us to play the rest of the tour was disregarded and as our crew was setting up for the show in Worcester, MA we were informed that we were being kicked off of the tour. Understand that it was not our choice to leave this tour... we were forced to leave." Atreyu then returned a statement about the controversy concerning From First to Last's departure, saying, "They couldn't perform as FFTL and are no longer on this tour."
Borland toured with From First To Last roughly since early 2006. He announced plans for a Fall 2006 tour that never went through due to Black Light Burns needing to find a new record label after Borland left Geffen Records. Borland has discussed plans to write and perform on the next From First To Last album, but he left the band due to Black Light Burns' busy schedule started to pick up, leaving no room for work with From First to Last.
Moore's departure, lineup instability and self-titled album (2007–2009)
In February 2007, lead singer Moore left From First to Last to pursue a solo career. His decision to leave was based on his urge to create his own music, and also due to the fact that singing in the band was putting an immense strain on his vocal cords, resulting in serious damage which needed multiple surgeries in order to be fixed. Moore posted new recordings on his Myspace and was part of a group of a band called Sonny and the Blood Monkeys. Moore now writes, produces, and performs music under the alias/stage name Skrillex, who has won 8 Grammy Awards for his electronic dance music, and now has 7 EP's and 2 Albums.
After vocalist Moore's departure, From First to Last faced a crisis. Their label, Capitol Records, had dropped them due to financial problems. Without a vocalist, label, permanent bassist, or any money, the band almost split. Guitarist/Vocalist Matt Good, however, decided to take on lead vocals while still providing a backup guitar role. The band also quickly picked up Matt Manning to become a full-time bassist. The band then spent their remaining money on a studio in which to continue work on their already-written third album.
The remaining members of From First to Last finished a headlining tour from July 21 through August 5 with guests Alesana, Vanna, Brighten, and Four Year Strong. Shortly before recording another album, the band played for a portion of the Show Must Go on tour with Hawthorne Heights, Secondhand Serenade, Powerspace, and Brighten, but later cancelled their dates on the last part of the tour to open for Deftones on a separate Canadian tour.
After completing a full mix of their new material, From First to Last was picked up by Suretone Records. Shortly after, they re-entered the studio to record their album again, this time with a professional crew and better quality. The band recorded this time in Los Angeles, with producer Josh Abraham and seasoned engineer Ryan Williams. At midnight on November 14, 2007, they released the first single from the album, Two as One, on their Myspace account, and they later played that song live on Jimmy Kimmel Live!. A video was made for the song Worlds Away which was highly publicized. Although this record was widely promoted and the band had one of its biggest years ever, they personally feel the album was a failure in that it did not portray the true band as it was meant to be portrayed. Currently, they rarely, if ever, play any songs off this album, the only occasional one being the song "Deliverance".
From First to Last began their fall headlining tour, RATHER BE SLAYIN' N00BZ, starting November 1 with guests Blessthefall, A Skylit Drive, and Vanna. Around the middle of the tour, the guests changed to Envy on the Coast, Pierce The Veil, Four Year Strong, and Mayday Parade.
On November 29, From First to Last announced they were going to be a part of the 2008 Hot Topic Take Action Tour. They played at the MTV Winter Valencia in Spain on March 6. On December 6, they announced they were going to be part of the 2008 Vans Warped Tour.
On May 6, 2008, From First to Last released their self-titled album, and starting June 20, hit the road on the Vans Warped Tour for its entirety.
On June 28, From First to Last updated their band members section of their MySpace, making Chris Lent a full-time member.
From the end of September to October 12, From First to Last played on The Blackout's "Sleep All Day, Party All Night" tour in the UK, along with The Medic Droid and We Are The Ocean.
Throne to the Wolves (2009–2010)
FFTL stated that they would be on a break from touring in late 2008. Members Travis Richter and Derek Bloom were focusing on their side project, The Color of Violence, with tours soon after and a full-length debut album, Youthanize, which was released April 7, 2009. Member Chris Lent toured as the drummer for the band I Set My Friends on Fire as well as one of the two drummers for The Color of Violence (along with Jon Syverson of the band Daughters); Lent also confirmed that he is no longer a member of FFTL and is now writing/recording with ISMFOF. FFTL began writing new songs early 2009 and started demoing new songs in March 2009 for their next album, expected to be released March 2010. A full-length demo of a song on the new album was put on their Myspace at that time, as well as the previously unheard b-side from Heroine, Save Us. A Second Full Length Demo was added on July 3, 2009, and a message to fans that they would be announcing their recording schedule and tentative label. As of August 6, 2009, the band had begun to track drums for the new record at EarthSound studios in Valdosta Georgia, with Lee Dyess.
In September 2009, Miss May I announced they would be touring with From First to Last in October 2009.
On October 1, 2009 FFTL announced that they would be touring with Greeley Estates and in October and November, and also that they had signed to Rise Records.
The band toured on the "You'd Be Way Cuter in a Coffin Tour" with Alesana, The Word Alive, Asking Alexandria, and Memphis May Fire in December 2009. Though recording was supposedly finished, the band was called off the road and was forced to cancel the last two weeks worth of performances – much to the dismay of fans, some of whom began to complain that the band could never finish a tour, and start rumors of a breakup – in order to go back home to Valdosta and put finishing touches on their recording. Matt Good responded to these claims and rumors
From First to Last released a new song off the album, "Going Lohan", on their MySpace page in November. The new album, Throne to the Wolves, was announced and slated for release on March 16, 2010.
In late 2009 FFTL went through yet another lineup change with Travis Richter leaving the band; no official announcement had yet been made by the band and no reason was given for his departure. Matt Good and Matt Manning have been taking over Travis's screaming role and Blake Steiner (ex-Mia Medusa guitarist), who recorded on Throne to the Wolves, is his replacement. On December 31 FFTL released the song "I'll Inoculate The World with the Virus of My Disillusionment" on their MySpace.
On Travis' departure from the band:
On January 20, 2010, From First to Last finally made an official announcement about Travis's departure from the band via Myspace.
Travis is now the lead vocalist for the progressive metal band The Human Abstract. Richter left the band in 2011 and became a dubstep producer with the group ModifiedNoise.
Beginning on March 13, 2010 From First to Last headlined the Royal Family Tour 2010, supported by Eyes Set To Kill, Confide, Black Veil Brides and Sleeping with Sirens. That tour concluded on April 10. Eyes Set to Kill dropped off the tour for other engagements a week before.
Throne to the Wolves was released March 16, 2010. The album was received well by critics and fans alike; getting favorable reviews from Alternative Press, and Absolute Punk. The album debuted at number 24 on the Billboard Top Hard Rock Albums, and number 45 on The Top Independent Albums. This is the band's first album not to chart the Billboard 200 since Dear Diary. After spending one week on the charts it dropped off; despite its poor debut, and first week sales of less than 4000, the album has been seen as a fresh start, and a new beginning for the band.
Starting on May 8, 2010 the band toured with Our Last Night, We Came as Romans, and A Bullet For Pretty Boy on the Welcome to the Circus tour, headlined by Asking Alexandria. The tour will end on June 9
On June 10, 2010 the band will begin playing dates through June 18 supporting A Skylit Drive on the second half of the "Go Fist Pump Yourself Tour", along with Tides of Man and Abandon All Ships. I Set My Friends on Fire were originally slated to play, but ISMFOF was forced to back out due to recording delays.
Hiatus (2010–2013)
On July 28, 2010 Matt Good announced that From First to Last was going on hiatus:
On July 29, 2010, Craig Owens posted a video on Facebook saying that Matt Good was the guitarist and keyboardist of his new band. On August 18, 2010, Owens announced account that the band is called Destroy Rebuild Until God Shows. The band's members include vocalist Craig Owens (Chiodos), drummer Aaron Stern (Matchbook Romance), guitarist/vocalist Nick Martin (Underminded), bassist Adam Russell (Story of the Year) and Matt Good in guitar, keyboards and vocals. Good left the band in 2012, now is a dubstep/electronica DJ with AJ Calderon in the duo Kit Fysto. D.R.U.G.S. disbanded in April 2012, as a result of the departure of lead singer Craig Owens who rejoined his former band Chiodos.
In 2011, Matt Manning and Blake Steiner formed the band Eye in the Sky. The band's members include Matt Simpson (drums), Blake Steiner (guitar) and Matt Manning (vocals and bass).
On August 20, 2013 Jon Weisberg launched his new band XO Stereo and released the first single Show And Tell with an accompanying music video. The band also features Justin Whitesel from LoveHateHero.
Reunion, introduction of Sotelo and Dead Trees (2013–2015)
In November 2013, Matt Good, Derek Bloom, Matt Manning and Travis Richter reunited as From First to Last and launched a Kickstarter campaign to fund the recording of a new EP. Good said he also reached out to Sonny Moore (Skrillex) to see if he would be interested in contributing in some way. Months after exceeding its crowd-funding goal of $25,000 by raising over $30,000, the band changed its plans slightly: the recording sessions proved fruitful and the band decided to release a full-length album instead of an EP, and the lineup changed significantly. Bloom was no longer a part of the reunion and the remaining members expanded to a six-piece with the addition of vocalist Spencer Sotelo of Periphery, drummer Ernie Slenkovich and third guitarist Taylor Larson. With the new lineup, From First to Last recorded and released an online stream of a new version of "Note to Self" – originally released on Dear Diary, My Teen Angst Has a Bodycount in 2004 with Moore on vocals – to commemorate its 10-year anniversary. In the autumn of 2014, the band continued on with a tour with Black Veil Brides, Set It Off, William Control and Falling in Reverse.
From First to Last released the first single, eponymously titled "Dead Trees," off their fifth studio album on November 24, 2014. Weeks later in January 2015, From First to Last announced their signing to Sumerian Records for the release of their new album. On April 23, 2015 the band released Dead Trees through Sumerian.
Departure of Sotelo, Moore's return and the future (2016–present)
On July 30, 2016, former vocalist Sonny Moore held a radio show on Beats 1 as Skrillex. The final song of the radio show, an untitled bonus track was, according to Alternative Press, reminiscent of prior From First to Last work with Moore's vocals. The article talked about the rumors being generated by a Facebook post regarding a possible reunion.
On August 1, 2016, Spencer Sotelo announced he left the band.
On January 15, 2017, the band released a new single, "Make War", featuring vocalist Sonny Moore and original drummer Derek Bloom returning to the band (although the single featured drummer Travis Barker instead of Bloom.) Their first show back with Moore and Bloom was on February 7, during an Emo Nite LA event in Los Angeles, California at music venue Echoplex. This marked the band's first live performance with Moore in ten years and Bloom since his departure in 2010. Longtime bassist Matt Manning also appeared with the band during the show, having only performed alongside Moore briefly before his initial departure from the band. Aside from debuting "Make War" live, the band played a set featuring material strictly off of Dear Diary.... Guitarist Taylor Larson was not present at the performance, and is no longer a member of the band.
In 2017, Moore stated that "Make War" was the first they wrote after reuniting. He later stated that the band plans to release more music.
In December 2017, the band debuted a new song entitled "Surrender" at Emo Nite Day in Los Angeles. The track was later released on July 23, 2018, with Bloom returning on drums.
Musical style
From First to Last has been described as post-hardcore, screamo, alternative rock, and emo.
Band members
Current
Matt Good – lead guitar, vocals, keyboards (1999–2010, 2013–present), lead vocals (1999–2002, 2007–2010), rhythm guitar (1999–2002)
Travis Richter – rhythm guitar, unclean vocals, backing vocals (2002–2009, 2013–present)
Derek Bloom – drums, percussion (2002–2010, 2013–2014, 2017–present)
Sonny Moore – lead vocals, additional guitar, keyboards (2004–2007, 2017–present)
Touring and session
Alicia Simmons-Way – bass, backing vocals (2005)
Mikey Way – bass, backing vocals (2005)
Wes Borland – bass, backing vocals (2005–2006)
Matt Fleischman – bass, backing vocals (2006–2007)
Travis Barker – drums, percussion (2017)
Former
Phillip Reardon – lead vocals, unclean vocals, keyboards, synthesizers (2002–2004)
Spencer Sotelo – lead vocals (2014–2016)
Blake Steiner – rhythm guitar, backing vocals (2009–2010)
Scott Oord – bass, backing vocals (1999–2002)
Joey Antillion – bass (2002–2003)
Jon Weisberg – bass, unclean vocals (2003–2005)
Parker Nelms – drums, percussion (1999)
Steve Pullman – drums, percussion, keyboards (1999–2002)
Greg Taylor – drums, percussion (2002)
Ernie Slenkovich – drums, percussion (2014–2016)
Chris Lent – keyboards, synthesizers, percussion (2006–2009)
Taylor Larson – rhythm/lead guitar (2014–2016)
Matt Manning – bass, unclean vocals (2007–2010, 2013–2017)
Timeline
Discography
Studio albums
Dear Diary, My Teen Angst Has a Bodycount (2004)
Heroine (2006)
From First to Last (2008)
Throne to the Wolves (2010)
Dead Trees (2015)
Awards
Further reading
Facts
1.From First to Last was initially formed in 1999 as First too Last in high school before renaming the band From First to Last in 2002. Founding member Matt Good was lead vocalist and guitarist of First to Last from 1999 to 2002 and again as From First to Last from 2007 to 2010, in which he featured as lead vocalist/guitarist on albums, From First to Last and Throne to Wolves.
References
External links
Musical groups established in 1999
Emo musical groups from Florida
American post-hardcore musical groups
Epitaph Records artists
Owsla artists
Musical groups from California
Musical groups from Orlando, Florida
Rise Records artists
Sumerian Records artists
1999 establishments in the United States
| true |
[
"\"Heroine\" is a song by British pop act Shakespears Sister, released in 1988 as a single from their debut album Sacred Heart. \"Heroine\" was released in most territories as a Double A-side with \"Break My Heart (You Really)\", which according to Siobhan Fahey was to \"give a more rounded picture of what I'm about\". In North American territories however, both songs were released as separate A-side singles.\n\nTrack listing \nCanadian 12\" single\n\"Heroine\" (Extended Version) — 5:29\n\"Dirty Mind\" — 4:06\n\"Heroine\" (Live in Leningrad) — 4:45\n\"Dirty Mind\" (Live in Leningrad) — 4:42\n\nDouble A-side CD single\n\"Break My Heart (You Really)\" (Shep Pettibone House Mix) — 7:25\n\"Break My Heart (You Really)\" (7\" Version) — 3:32\n\"Heroine\" (Extended Version) — 5:33\n\nDouble A-side 7\" single\n\"Break My Heart (You Really)\" — 3:29\n\"Heroine\" — 3:45\n\nUS 12\" single\n\"Heroine\" — 5:33\n\"Heroine\" (LP Version) — 3:45\n\"Dirty Mind\" — 4:06\n\"Heroine\" (Live) — 4:52\n\"Dirty Mind\" (Live) — 4:44\n\nReferences \n\nShakespears Sister songs\n1988 debut singles\nSongs written by Siobhan Fahey\nSongs written by Richard Feldman (songwriter)\n1988 songs",
"Heroina (trans. Heroine) was a Croatian and former Yugoslav music magazine.\n\nHistory\nHeorina was founded in 1990 as an independent magazine. The magazine's first Editor-in-Chiefs was Branko Maleš. The first issue was released on December 14, 1990, and after the sixth issue, released in June 1991, Heroina was put out.\n\nThe magazine was renewed in 1994 under the name Heroina Nova (The New Heroine). Nova Heroina was published by Glas Slavonije under the editorship of Zoran Jačimović. The first issue was released in January 1994, and the last, 41st issue, in July 1998.\n\nReferences\n\n1990 establishments in Yugoslavia\n1998 disestablishments in Croatia\nMagazines published in Croatia\nCroatian music history\nCroatian-language magazines\nDefunct magazines published in Croatia\nMagazines established in 1990\nMagazines disestablished in 1998\nMusic magazines\nYugoslav rock music\nMagazines published in Yugoslavia"
] |
[
"From First to Last",
"Heroine (2006)",
"When was heroine released",
"The album was released on March 21, 2006."
] |
C_8360e6920a814dc2a7b81eb7fa17d25e_1
|
What songs were on the album?
| 2 |
What songs were on the "Heroine" album?
|
From First to Last
|
The band went to Radio Star Studios in Weed, California to record their second album, produced by Ross Robinson. As their previous bassist Weisberg had been formally asked to leave the band due to internal conflicts, producer Ross Robinson asked Wes Borland, former Limp Bizkit guitarist, to play bass on the album. Borland later played several tours with the band. The album was released on March 21, 2006. It opened on the Billboard albums chart at No. 25, with first-week sales of over 33,000. Shortly thereafter in April, they signed to major label Capitol Records after bidding between that label and Warner Bros.. From mid March to mid May the band toured alongside Fall Out Boy, Hawthorne Heights and The All-American Rejects for the "Black Clouds and Underdogs Tour" in support of their release Heroine. FFTL then did a short European Tour with various bands. The band then played several dates on the 2006 Vans Warped Tour, but were forced to drop out due to surgical removal of a nodule on Moore's vocal cords. He received his second nodule surgery in early July (his first being in May 2005). Following his recovery, From First to Last went out on the "World Championship Tour" supporting Atreyu along with Every Time I Die and Chiodos. While on that tour, Moore once again had vocal cord problems and had to leave the tour. The band had planned to have guitarists Good and Richter cover Moore's vocal duties for the duration of the tour until singer of Chiodos, Craig Owens, insisted that he provide lead vocals for their sets. Atreyu eventually forced From First to Last to drop the tour. The band later explained, "Our plan to enable us to play the rest of the tour was disregarded and as our crew was setting up for the show in Worcester, MA we were informed that we were being kicked off of the tour. Understand that it was not our choice to leave this tour... we were forced to leave." Atreyu then returned a statement about the controversy concerning From First to Last's departure, saying, "They couldn't perform as FFTL and are no longer on this tour." Borland toured with From First To Last roughly since early 2006. He announced plans for a Fall 2006 tour that never went through due to Black Light Burns needing to find a new record label after Borland left Geffen Records. Borland has discussed plans to write and perform on the next From First To Last album, but he left the band due to Black Light Burns' busy schedule started to pick up, leaving no room for work with From First to Last. CANNOTANSWER
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CANNOTANSWER
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From First to Last is an American post-hardcore band based in the Los Angeles Area and Tampa, Florida. Formed by Matt Good, Scott Oord, and Parker Nelms in November 1999, the current line-up consists of Matt Good (lead guitar), Sonny Moore (lead vocals), Travis Richter (rhythm guitar), and Derek Bloom (drums).
The band released their first EP titled Aesthetic in 2003 which they recorded with founding member and vocalist Phillip Reardon who left the band in 2004 due to personal and creative differences. Dear Diary, My Teen Angst Has a Bodycount followed in 2004 and Heroine in 2006, both with Moore.
Following the departure of Moore in February 2007 to work on his solo electronic project, the band added permanent bassist Matt Manning, and Good moved to lead vocals/guitar. Their third self-titled studio album was released in 2008 on Suretone Records. In August 2009 the band signed to Rise Records. In late 2009, Richter left the band. Their fourth studio album, Throne to the Wolves was released on March 16, 2010. On July 28, 2010, the band entered a hiatus.
In November 2013, the band re-formed, with Periphery vocalist Spencer Sotelo as the new lead vocalist, as well as Richter rejoining the band. They released their fifth album Dead Trees in April 2015. Sotelo departed the band in July 2016. Former vocalist Sonny Moore rejoined the band in January 2017. In May 2020 Matt Good admitted that while there are a few tracks that could be on a new album, he's unsure if it will ever come to fruition.
History
Formation and Aesthetic (1999–2003)
First Too Last was created in November 1999 in Tampa by Matt Good, Michael Blanchard and Scott Oord. Scott played bass, while Matt took on lead vocals and was convinced by Scott to also play guitar. Parker Nelms (drums) held practice at his house, but when the band began to travel, Parker was too young to do so. He was replaced by Steve Pullman to round out the lineup that, for the next three years, would play small shows in Florida.
In 2002, Matt joined the grindcore band The Color of Violence (at that time, called Slaughter vs Skeleton, Fetus Destroyer), where he met Travis Richter (guitar), who would later join First To Last, and Joey Antillion (bass). Some time later, Greg Taylor joined as (drums), who wrote about 4 songs, in which the Aesthetic Demos were created. After hearing the demos of what would be their first EP, Phillip Reardon (lead vocals) and Derek Bloom (drums) joined the band.
In 2003, the band released their debut EP Aesthetic on Four Leaf Recordings which featured the vocals of Reardon, Good and Richter. By the end of the year, they had changed their name to From First To Last and signed to Epitaph Records.
Dear Diary, My Teen Angst Has a Bodycount (2004)
After the Aesthetic EP, the band wanted to move Matt Good to lead vocals. However, Good was reluctant to take on both lead vocal and lead guitar duties. He wanted From First to Last to have a frontman, to connect with the crowd better. Using the social networking site MySpace, Good came in contact with a guitarist and singer from California, Sonny Moore. Moore flew to Valdosta, Georgia, where Dear Diary, My Teen Angst Has a Bodycount was being recorded, and was set to be the band's rhythm guitarist. However, when the other band members heard Moore singing "Featuring Some of Your Favorite Words", they decided that he was much better suited for lead singer than guitarist.
Matt Good wrote the album in two weeks. Moore came in after the music was tracked and completed the vocals. Dear Diary, My Teen Angst Has a Bodycount was released on June 29, 2004.
From late May to mid-June 2005, From First to Last participated in the "Dead by Dawn" tour with bands Emanuel, Halifax and He Is Legend.
Heroine (2006)
The band went to Radio Star Studios in Weed, California to record their second album, produced by Ross Robinson. As their previous bassist Weisberg had been formally asked to leave the band due to internal conflicts, producer Ross Robinson asked Wes Borland, former Limp Bizkit guitarist, to play bass on the album. Borland later played several tours with the band. The album was released on March 21, 2006. It opened on the Billboard albums chart at No. 25, with first-week sales of over 33,000. Shortly thereafter in April, they signed to major label Capitol Records after bidding between that label and Warner Bros.
From mid March to mid May the band toured alongside Fall Out Boy, Hawthorne Heights and The All-American Rejects for the "Black Clouds and Underdogs Tour" in support of their release Heroine.
FFTL then did a short European Tour with various bands. The band then played several dates on the 2006 Vans Warped Tour, but were forced to drop out due to surgical removal of a nodule on Moore's vocal cords. He received his second nodule surgery in early July (his first being in May 2005). Following his recovery, From First to Last went out on the "World Championship Tour" supporting Atreyu along with Every Time I Die and Chiodos. While on that tour, Moore once again had vocal cord problems and had to leave the tour. The band had planned to have guitarists Good and Richter cover Moore's vocal duties for the duration of the tour until singer of Chiodos, Craig Owens, insisted that he provide lead vocals for their sets. Atreyu eventually forced From First to Last to drop the tour. The band later explained, "Our plan to enable us to play the rest of the tour was disregarded and as our crew was setting up for the show in Worcester, MA we were informed that we were being kicked off of the tour. Understand that it was not our choice to leave this tour... we were forced to leave." Atreyu then returned a statement about the controversy concerning From First to Last's departure, saying, "They couldn't perform as FFTL and are no longer on this tour."
Borland toured with From First To Last roughly since early 2006. He announced plans for a Fall 2006 tour that never went through due to Black Light Burns needing to find a new record label after Borland left Geffen Records. Borland has discussed plans to write and perform on the next From First To Last album, but he left the band due to Black Light Burns' busy schedule started to pick up, leaving no room for work with From First to Last.
Moore's departure, lineup instability and self-titled album (2007–2009)
In February 2007, lead singer Moore left From First to Last to pursue a solo career. His decision to leave was based on his urge to create his own music, and also due to the fact that singing in the band was putting an immense strain on his vocal cords, resulting in serious damage which needed multiple surgeries in order to be fixed. Moore posted new recordings on his Myspace and was part of a group of a band called Sonny and the Blood Monkeys. Moore now writes, produces, and performs music under the alias/stage name Skrillex, who has won 8 Grammy Awards for his electronic dance music, and now has 7 EP's and 2 Albums.
After vocalist Moore's departure, From First to Last faced a crisis. Their label, Capitol Records, had dropped them due to financial problems. Without a vocalist, label, permanent bassist, or any money, the band almost split. Guitarist/Vocalist Matt Good, however, decided to take on lead vocals while still providing a backup guitar role. The band also quickly picked up Matt Manning to become a full-time bassist. The band then spent their remaining money on a studio in which to continue work on their already-written third album.
The remaining members of From First to Last finished a headlining tour from July 21 through August 5 with guests Alesana, Vanna, Brighten, and Four Year Strong. Shortly before recording another album, the band played for a portion of the Show Must Go on tour with Hawthorne Heights, Secondhand Serenade, Powerspace, and Brighten, but later cancelled their dates on the last part of the tour to open for Deftones on a separate Canadian tour.
After completing a full mix of their new material, From First to Last was picked up by Suretone Records. Shortly after, they re-entered the studio to record their album again, this time with a professional crew and better quality. The band recorded this time in Los Angeles, with producer Josh Abraham and seasoned engineer Ryan Williams. At midnight on November 14, 2007, they released the first single from the album, Two as One, on their Myspace account, and they later played that song live on Jimmy Kimmel Live!. A video was made for the song Worlds Away which was highly publicized. Although this record was widely promoted and the band had one of its biggest years ever, they personally feel the album was a failure in that it did not portray the true band as it was meant to be portrayed. Currently, they rarely, if ever, play any songs off this album, the only occasional one being the song "Deliverance".
From First to Last began their fall headlining tour, RATHER BE SLAYIN' N00BZ, starting November 1 with guests Blessthefall, A Skylit Drive, and Vanna. Around the middle of the tour, the guests changed to Envy on the Coast, Pierce The Veil, Four Year Strong, and Mayday Parade.
On November 29, From First to Last announced they were going to be a part of the 2008 Hot Topic Take Action Tour. They played at the MTV Winter Valencia in Spain on March 6. On December 6, they announced they were going to be part of the 2008 Vans Warped Tour.
On May 6, 2008, From First to Last released their self-titled album, and starting June 20, hit the road on the Vans Warped Tour for its entirety.
On June 28, From First to Last updated their band members section of their MySpace, making Chris Lent a full-time member.
From the end of September to October 12, From First to Last played on The Blackout's "Sleep All Day, Party All Night" tour in the UK, along with The Medic Droid and We Are The Ocean.
Throne to the Wolves (2009–2010)
FFTL stated that they would be on a break from touring in late 2008. Members Travis Richter and Derek Bloom were focusing on their side project, The Color of Violence, with tours soon after and a full-length debut album, Youthanize, which was released April 7, 2009. Member Chris Lent toured as the drummer for the band I Set My Friends on Fire as well as one of the two drummers for The Color of Violence (along with Jon Syverson of the band Daughters); Lent also confirmed that he is no longer a member of FFTL and is now writing/recording with ISMFOF. FFTL began writing new songs early 2009 and started demoing new songs in March 2009 for their next album, expected to be released March 2010. A full-length demo of a song on the new album was put on their Myspace at that time, as well as the previously unheard b-side from Heroine, Save Us. A Second Full Length Demo was added on July 3, 2009, and a message to fans that they would be announcing their recording schedule and tentative label. As of August 6, 2009, the band had begun to track drums for the new record at EarthSound studios in Valdosta Georgia, with Lee Dyess.
In September 2009, Miss May I announced they would be touring with From First to Last in October 2009.
On October 1, 2009 FFTL announced that they would be touring with Greeley Estates and in October and November, and also that they had signed to Rise Records.
The band toured on the "You'd Be Way Cuter in a Coffin Tour" with Alesana, The Word Alive, Asking Alexandria, and Memphis May Fire in December 2009. Though recording was supposedly finished, the band was called off the road and was forced to cancel the last two weeks worth of performances – much to the dismay of fans, some of whom began to complain that the band could never finish a tour, and start rumors of a breakup – in order to go back home to Valdosta and put finishing touches on their recording. Matt Good responded to these claims and rumors
From First to Last released a new song off the album, "Going Lohan", on their MySpace page in November. The new album, Throne to the Wolves, was announced and slated for release on March 16, 2010.
In late 2009 FFTL went through yet another lineup change with Travis Richter leaving the band; no official announcement had yet been made by the band and no reason was given for his departure. Matt Good and Matt Manning have been taking over Travis's screaming role and Blake Steiner (ex-Mia Medusa guitarist), who recorded on Throne to the Wolves, is his replacement. On December 31 FFTL released the song "I'll Inoculate The World with the Virus of My Disillusionment" on their MySpace.
On Travis' departure from the band:
On January 20, 2010, From First to Last finally made an official announcement about Travis's departure from the band via Myspace.
Travis is now the lead vocalist for the progressive metal band The Human Abstract. Richter left the band in 2011 and became a dubstep producer with the group ModifiedNoise.
Beginning on March 13, 2010 From First to Last headlined the Royal Family Tour 2010, supported by Eyes Set To Kill, Confide, Black Veil Brides and Sleeping with Sirens. That tour concluded on April 10. Eyes Set to Kill dropped off the tour for other engagements a week before.
Throne to the Wolves was released March 16, 2010. The album was received well by critics and fans alike; getting favorable reviews from Alternative Press, and Absolute Punk. The album debuted at number 24 on the Billboard Top Hard Rock Albums, and number 45 on The Top Independent Albums. This is the band's first album not to chart the Billboard 200 since Dear Diary. After spending one week on the charts it dropped off; despite its poor debut, and first week sales of less than 4000, the album has been seen as a fresh start, and a new beginning for the band.
Starting on May 8, 2010 the band toured with Our Last Night, We Came as Romans, and A Bullet For Pretty Boy on the Welcome to the Circus tour, headlined by Asking Alexandria. The tour will end on June 9
On June 10, 2010 the band will begin playing dates through June 18 supporting A Skylit Drive on the second half of the "Go Fist Pump Yourself Tour", along with Tides of Man and Abandon All Ships. I Set My Friends on Fire were originally slated to play, but ISMFOF was forced to back out due to recording delays.
Hiatus (2010–2013)
On July 28, 2010 Matt Good announced that From First to Last was going on hiatus:
On July 29, 2010, Craig Owens posted a video on Facebook saying that Matt Good was the guitarist and keyboardist of his new band. On August 18, 2010, Owens announced account that the band is called Destroy Rebuild Until God Shows. The band's members include vocalist Craig Owens (Chiodos), drummer Aaron Stern (Matchbook Romance), guitarist/vocalist Nick Martin (Underminded), bassist Adam Russell (Story of the Year) and Matt Good in guitar, keyboards and vocals. Good left the band in 2012, now is a dubstep/electronica DJ with AJ Calderon in the duo Kit Fysto. D.R.U.G.S. disbanded in April 2012, as a result of the departure of lead singer Craig Owens who rejoined his former band Chiodos.
In 2011, Matt Manning and Blake Steiner formed the band Eye in the Sky. The band's members include Matt Simpson (drums), Blake Steiner (guitar) and Matt Manning (vocals and bass).
On August 20, 2013 Jon Weisberg launched his new band XO Stereo and released the first single Show And Tell with an accompanying music video. The band also features Justin Whitesel from LoveHateHero.
Reunion, introduction of Sotelo and Dead Trees (2013–2015)
In November 2013, Matt Good, Derek Bloom, Matt Manning and Travis Richter reunited as From First to Last and launched a Kickstarter campaign to fund the recording of a new EP. Good said he also reached out to Sonny Moore (Skrillex) to see if he would be interested in contributing in some way. Months after exceeding its crowd-funding goal of $25,000 by raising over $30,000, the band changed its plans slightly: the recording sessions proved fruitful and the band decided to release a full-length album instead of an EP, and the lineup changed significantly. Bloom was no longer a part of the reunion and the remaining members expanded to a six-piece with the addition of vocalist Spencer Sotelo of Periphery, drummer Ernie Slenkovich and third guitarist Taylor Larson. With the new lineup, From First to Last recorded and released an online stream of a new version of "Note to Self" – originally released on Dear Diary, My Teen Angst Has a Bodycount in 2004 with Moore on vocals – to commemorate its 10-year anniversary. In the autumn of 2014, the band continued on with a tour with Black Veil Brides, Set It Off, William Control and Falling in Reverse.
From First to Last released the first single, eponymously titled "Dead Trees," off their fifth studio album on November 24, 2014. Weeks later in January 2015, From First to Last announced their signing to Sumerian Records for the release of their new album. On April 23, 2015 the band released Dead Trees through Sumerian.
Departure of Sotelo, Moore's return and the future (2016–present)
On July 30, 2016, former vocalist Sonny Moore held a radio show on Beats 1 as Skrillex. The final song of the radio show, an untitled bonus track was, according to Alternative Press, reminiscent of prior From First to Last work with Moore's vocals. The article talked about the rumors being generated by a Facebook post regarding a possible reunion.
On August 1, 2016, Spencer Sotelo announced he left the band.
On January 15, 2017, the band released a new single, "Make War", featuring vocalist Sonny Moore and original drummer Derek Bloom returning to the band (although the single featured drummer Travis Barker instead of Bloom.) Their first show back with Moore and Bloom was on February 7, during an Emo Nite LA event in Los Angeles, California at music venue Echoplex. This marked the band's first live performance with Moore in ten years and Bloom since his departure in 2010. Longtime bassist Matt Manning also appeared with the band during the show, having only performed alongside Moore briefly before his initial departure from the band. Aside from debuting "Make War" live, the band played a set featuring material strictly off of Dear Diary.... Guitarist Taylor Larson was not present at the performance, and is no longer a member of the band.
In 2017, Moore stated that "Make War" was the first they wrote after reuniting. He later stated that the band plans to release more music.
In December 2017, the band debuted a new song entitled "Surrender" at Emo Nite Day in Los Angeles. The track was later released on July 23, 2018, with Bloom returning on drums.
Musical style
From First to Last has been described as post-hardcore, screamo, alternative rock, and emo.
Band members
Current
Matt Good – lead guitar, vocals, keyboards (1999–2010, 2013–present), lead vocals (1999–2002, 2007–2010), rhythm guitar (1999–2002)
Travis Richter – rhythm guitar, unclean vocals, backing vocals (2002–2009, 2013–present)
Derek Bloom – drums, percussion (2002–2010, 2013–2014, 2017–present)
Sonny Moore – lead vocals, additional guitar, keyboards (2004–2007, 2017–present)
Touring and session
Alicia Simmons-Way – bass, backing vocals (2005)
Mikey Way – bass, backing vocals (2005)
Wes Borland – bass, backing vocals (2005–2006)
Matt Fleischman – bass, backing vocals (2006–2007)
Travis Barker – drums, percussion (2017)
Former
Phillip Reardon – lead vocals, unclean vocals, keyboards, synthesizers (2002–2004)
Spencer Sotelo – lead vocals (2014–2016)
Blake Steiner – rhythm guitar, backing vocals (2009–2010)
Scott Oord – bass, backing vocals (1999–2002)
Joey Antillion – bass (2002–2003)
Jon Weisberg – bass, unclean vocals (2003–2005)
Parker Nelms – drums, percussion (1999)
Steve Pullman – drums, percussion, keyboards (1999–2002)
Greg Taylor – drums, percussion (2002)
Ernie Slenkovich – drums, percussion (2014–2016)
Chris Lent – keyboards, synthesizers, percussion (2006–2009)
Taylor Larson – rhythm/lead guitar (2014–2016)
Matt Manning – bass, unclean vocals (2007–2010, 2013–2017)
Timeline
Discography
Studio albums
Dear Diary, My Teen Angst Has a Bodycount (2004)
Heroine (2006)
From First to Last (2008)
Throne to the Wolves (2010)
Dead Trees (2015)
Awards
Further reading
Facts
1.From First to Last was initially formed in 1999 as First too Last in high school before renaming the band From First to Last in 2002. Founding member Matt Good was lead vocalist and guitarist of First to Last from 1999 to 2002 and again as From First to Last from 2007 to 2010, in which he featured as lead vocalist/guitarist on albums, From First to Last and Throne to Wolves.
References
External links
Musical groups established in 1999
Emo musical groups from Florida
American post-hardcore musical groups
Epitaph Records artists
Owsla artists
Musical groups from California
Musical groups from Orlando, Florida
Rise Records artists
Sumerian Records artists
1999 establishments in the United States
| false |
[
"Followers is an album by the American contemporary Christian music (CCM) band Tenth Avenue North. It was released by Provident Label Group, a division of Sony Music Entertainment, under its Reunion Records label, on October 14, 2016. The album reached No. 5 on the Billboard Christian Albums chart, and No. 151 on the Billboard 200. Three singles from the album were released: \"What You Want\" in 2016, and \"I Have This Hope\" and \"Control (Somehow You Want Me)\" in 2017, all of which appeared on the Billboard Hot Christian Songs chart.\n\nRelease and performance \n\nFollowers was released on October 14, 2016, by Provident Label Group LLC, a division of Sony Music Entertainment. It first charted on both the US Billboard Christian Albums and Billboard 200 on the week of November 5, 2016, peaking that week on both charts at No. 5 and No. 151, respectively.\n\nThree singles were released from the album. The first, \"What You Want\", was released five months in advance of the album on May 13, 2016, and charted on the Billboard Hot Christian Songs list, peaking at No. 17 on September 3, 2016. The other two were released in 2017 after the album, and reached the top 10 on Hot Christian Songs: \"I Have This Hope\" peaked at No. 5 on June 10, 2017, and \"Control (Somehow You Want Me)\" peaked at No. 7 on January 13, 2018.\n\nReception \n\nCCM Magazine gave the album 4 out of 5 stars, and cited its \"killer vocal work on honest, relatable lyrics paired with ... strong songwriting.\"\n\nChristian review website JesusFreakHideout rated the album 3.5 out of 5 stars. The review said the album was \"pretty much what you would expect from a CCM release\" and wrote that \"What You Want\" was \"the most energetic song on the album\". It singled out the opening track as \"excellent\" and the closing track as \"powerful\", and characterized the remaining songs as \"eight solid but otherwise ordinary tracks.\"\n\nTrack listing\n\"Afraid\" (3:48)\n\"What You Want\" (3:37)\n\"Overflow\" (3:40)\n\"I Have This Hope\" (3:24)\n\"One Thing\" (3:28)\n\"Sparrow (Under Heaven's Eyes)\" (3:59)\n\"No One Can Steal Our Joy\" (3:40)\n\"Control (Somehow You Want Me)\" (4:08)\n\"Fighting for You\" (3:22)\n\"I Confess\" (5:15)\n\nChart performance\n\nReferences\n\n2016 albums\nTenth Avenue North albums",
"\"Lies\" is a song written by Beau Charles and Buddy Randell, performed by The Knickerbockers; the single was produced by Jerry Fuller. It reached #20 on the U.S. pop chart in 1965. It was featured on their 1966 album Lies and is famous for often being mistaken for a Beatles track due to its similarities to their style and harmonies.\n\nBackground\nHere is what original Knickerbockers member Beau Charles said about the song's behind-the-scenes story:\n\n\"We desperately tried to write something that sounded like the British Invasion'. We wrote 'Lies' in less than one half hour. We demo-ed it in New York.\" After a Jerry Fuller inspired re-arrangement, the track was recorded at Sunset Sound in West Hollywood with Bruce Botnick as the Engineer. Things were not quite right, so the multi-track master was taken to Leon Russell's house in Hollywood Hills. Jerry Fuller knew Leon and \"Leon had this great little studio - just a four track\". The band recorded the vocals there and overdubbed a new guitar part that was recorded from a beat up old Fender guitar amp that gave the guitar sound a meaty, edgy feel\".\n\nOther versions\nThe Ventures on their 1965 album Where the Action Is.\nNancy Sinatra on her 1966 album Boots.\nThe T-Bones on their 1966 album No Matter What Shape (Your Stomach's In).\nGary Lewis & the Playboys on their 1967 album Gary Lewis & the Playboys.\nLulu on her 1966 album From Lulu...with Love.\nStyx on their 1974 album Man of Miracles.\nTarney/Spencer Band on their 1979 album Run for Your Life.\nLinda Ronstadt on her 1982 album Get Closer.\nThe Delmonas on their 1985 album Dangerous Charms.\nThe Undead on their 1986 album Never Say Die!\nThe Landlords on their 1987 EP Our Favorite Songs!\nThe Basement Wall on their 1993 compilation album There Goes the Neighborhood! Volume 2 Featuring The Basement Wall.\nThe Fireballs on their 2006 compilation album Firebeat! The Great Lost Vocal Album.\nThe Brymers on their 2007 compilation album Sacrifice.\nThe Black Belles as the B-side to their 2010 single \"What Can I Do?\"\n\nSee also\n List of 1960s one-hit wonders in the United States\n\nReferences\n\n1965 songs\n1965 singles\nThe Ventures songs\nNancy Sinatra songs\nGary Lewis & the Playboys songs\nLulu (singer) songs\nStyx (band) songs\nLinda Ronstadt songs\nThe Fireballs songs\nSong recordings produced by Jerry Fuller"
] |
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